New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-01-09

most thoughtful portion OF the book, thoue" VIC
fear that with all its clcarncss of expression
and all its evidences of kecnness oil per
cepion, it leaves the problem to when IL Il UT
voted pretty much where the writer iouid H.
Mr.. Hadow would like TO give value TO h''Sicai
criticism and seems 10 be convinced tiat 'hls
can only he done by discovering pasis ioI "
which shall have philosophical solidity' OUCH
basis however, is not to he drawn from a'ai'se'
with the other arts, becaus" music - III "
wholly UNIQUE case Tie distinction between tie
formal and material which obtains in all the rep
resentativc arts has no existence in music Inc
material side is net subordinated To the ior'iai'
but completely absorbed in it.. There are no ana
)ogues for musical form In nature, cone iuc'.S
no basis for comparisons consequently a'so' ''c
pre-eminent difficulty Of expressing muslc'n cii'-
icism To help themselves ont of the difficulty
critics resort to technicalitics Which are uiii'ei-
lcible to the majority Of readers and muslc-loNerS'
~ me.anbors which are frequently little better
than an intrusion, or they fly to simple, ha''
arrogant and indefensible dogmatism Kecog-
milton Of the righteous claims Of what is caiN'u
Romanticism in music THAT is restoration OIL the
| ort IN its primitive use as O medium oil cno'aonhi
| cxnression) has emancipatcd criticism IN thesc
latter DAYS from the adamantive sway winch
bound il before study Of what we might call us
natural history had come into vogue. inns s'uus
hoe disclosed the fact, which Mr.. IIadow recoe-
ri,oo that there can be no 6nality OF Jaw In
music Since artistic music entered upon JUS true
estate the question of It's correctness ana oe"u'S
cannot be determined by obedience TO rule, Eac'i
rule has grown out Of the arbitrary conouec o'
! the composer. Musical law is therefore mercy
! temporary convention. NOTHING is "rohs IN
music -, said Schumann, (which sounds right
| This is now q trusm, but when 1t was u''creu "
was heresy Where shall the critic cast an anchor
so as not to drift hopelessly with any passing
current? Mr. Hadow thinks there are some
nrinciples of general validity even here, and the
purpose of his writing is to discover, II possible
| certain psychological laws which form the code
bv which music is to be Judged which at least
will enable critic and public 10 discriminate De-
| tvoen rood and bad music without any refer
ence 70 system or school and with as llttio APP
peal as possible to technicalities we cannot
| follow him through his augmentation, nor "ohu
,ve wish 70 enter upon discussion with him
toncbnr the validity and appositcncss OF some
| ~ Ms Illustrations Mr. IIadow is an English
man and patriot. In his zeal he jumoles MS
examples in way which is slightly confusing 10
readers not familiar with the doings OF provincial
| English choral festivals are not Impressed WIN
the greatness of the works produced annually NJ
u.
inC, "a composer who is capable OF restoring our
iEneand's) national music TO it's true place IN the
art OF Europe Under his guidance and by MS
example it is etill possible that we may rise 10
III. nosition which we occupied in the time OF
| Elizabeth, and show ourselves once moro 'i'o
worthy courade and rival OF tho great NATIONS
over sea-
Appreciation, pride and eagerness to encourage
native products such as he possesses are we
think. not only amiable but valuable 70 ART
Yet when his principles of criticism come 10 10
anplied TO things concrete which he cites rs ca
amples we fear that many German and American
readers will think that after all criticism ho'
ca much n matter Of fixed principle as OF mex
plicabc prediction. But here hre the Psyc"o,
LOGICAL laws which Mr.. lladow thinks have seherai
,,aIidi,y and which are certainly admirable In
| the abstract
/ The Principle Of Vitality, which he explains
e. moan sDontal city Of creation and originality
| o,oon,iro Russin's axiom that Originality Is not
newness, but genuineness
II The Principle OF Labor, which Is inVol'cu
in the proper presentation Of proper ulusio1 d.
| tboucht. and is conditioned on The existence oi
love for the art ,,..n.,;n,
III The Principle OF Proportion, in discussing
| h;ah ,rhfa ,vc agree with what Mr.. Hadow
cows We fear he is Yet unconsciously suoml''ihs
n the domination Of conventionally g.,
" The Principle of Fitness uhcer "n.n
ho,d bc Diseases very trenchantly the necessity
! n consonance between style and form. Finally
| Mr. IIa6ow's oooll is u delight IL was -,
printing, and it ought to be read widely, , inS
three remaining essays In the volume 't'
w. Rerlioz. schmnann and Wagner. all trea'en
in the apprecarive manner which 'elie' In
ronontic principles necessarily prompts