New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-12-10
NEW PUBLICATIONS.
BOOK OF MUSICAL ESSAYS.

A
,,nrs AND STUDIES. Musical Themes Of the
PREleph nv " J. Henderson. Post svo, PIP. 245.
nv ~. YORK LongmanS, Green d Co.
- interest which this book Of musical criticism
-. sor its own sake Is paired with admiration en-
~ the fact that IL IS largely reprint of con-
,oraneous newspaper criticism. IL speaks well for
e.raper that at time when the tendency in the
spnos . amusement columns is generally toward
-.rcy and news mongering. space should have been
, for so much serious discussion OF artistic Ques-
p a. Is 10 be found in Mr.. Henderson's "Preludes
S,pdies. IL speaks we'll for Mr.. Henderson that
-. the discoaragng circumstances which beset the
.nsner reviewer he should have set for himself so
~ ,ses n goal and labored for It's attainment with
% answering fidelity and treess zeal. The Ques-
90 Itch he handles are all living. Even the purely
p.al lectures which he has grouped together under
~ .royal head OF "The Evolution OF Piano Muslen
y sosormed with freshness and contemporaneous in
-. hv tne manner which he has chosen for their
~.,mspt Tie concluding chapter Of the book is an
assigned TO win appreciation for Scliumann a
- which might seem to he unnecessary were it not
~ ,he fact that all insidous influence against this
y" ". lorable and admirable composer, the most in
-, IN earnest artist since Beethoven. has made
80 f.n during the last fifteen years as fruit OF
..,,-rs strange want Of appreciation IN this quarter
"a hs unfortunate llliberality toward contempoaneous
.v,osers This essay is here printed for the first
- and is the gem Of the book both In thought and
,-~son The whole question OF the content OF
.s.o rs involved In programme music is discussed
e.,ully and clearly, and nn analysis OF Schumann's
n.nlnor symphony made to disclose how schumann
Meyed poetiosl ana structural unity In his handling
!, me symphonic FORM
naturally Mr.. Henderson, dealing with the vital
.r.s,ons in music today, has much to say the sub
~, a, Wagner ard his creations. His opening chap
,rs arc devoted to the story OF the et.alogy, The
pas Of -Ne Nibeung,' which ne tells with quick
aana;ic movement and explains with frequent refer
,,o.s to the parent legends drawn from Morse lit
,rsture He then studies the philosophy and humanity
y ne tragedy and he is little affected by the
,syencn plea Of unwillngncss TO think In the theatre
q ofn put forward by those vino would have all art
mere amusement in the modern sense. that he calls
N The aid OF metaphysics to explain features of the
soy which at first blush seem undrsmatic and IRA
elssi The Law of rcdintegratOn is expounded and
.spealcd 20 10 explain the operation Of Siegfrieds
ssd under the influence Of the drinks OF forgehness
ssd memory. for instance, though the explanation
rss scarcely necessary in view OF the mythical nature
q he dramatic material and Wagners obvious pur-
we 10 keep clear Of all conventonality in his ex
lib.on Of primitive human forces. Mr.. Henderson
net altogether agreed with some features OF Wagners
syssem Of dramatic composition and he wakes witty
4 their expense with quite as much readiness and
ease he does later at the expense of 0: Wag
ners beniehted detrsctors in England. Some of Mr.
Hsnderson's contentious might be overthrow, but it
pitc satisfactory to let them stand unchallenged
10 detail exemplfcatons of the admirable motto
vhch he has pm. gnder his amsble dedication TO
n his colleagues: "To know what you prefer. instead
q hpnbly saying Amen to what the world tells you
you oug to prefer is 10 have kept your soul ave.'
The quotation Is from Robert Louis Stevenson and IL
mlrht be ftly set up commentary on the author
q rrsudcs and Studies" writer for the
Papers lecturer OIL musical topics and an influence
II he art HE Of this community