The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1895-03-09

),
ten lie before us and call for notice of
their scope and quality of authorship.
The subjects comprehended within this
third portion of the book number
sixteen: the composers, fourteen and
the contributing authors eleven. Bach
and Handel receive elaborate and
semi-philosophical narratives from the
pen OF the German critic, Philip Spitta;
Gluck Is presented in careful manner
by Wilhelm Langhans: Benjamin r..
Woolf contributes 4 sympathetic bio
graphical sketch of Haydn, which is
among the best executed of all the
biographies in the ten parts; Mozart
and Beethoven both depend for their
correct representation upon the pol
'shed pen Of Philip Hale, who, although
ccorded Il most difficult task, performs
II satisfactorily; John Fiske writes en-
tertainingly about Schubert; w. j. Hen
derson presents in succinct manner the
life-Story of the little known Ludwig
Spohr; Weber and Marschner receive
scholarly treatment at the hands of
Fl. +. krehbiel: Mendelssohn ut the
hands of John s. Dwight: Robert Schu-
mann and also Robert Franz. at the
sketch OF, Meyerbeer, which fills out the
tenth part. being uncompleted. does
not disclose its authors. signature.
There are, in addition to these more or
less concise biographies two essays
concerning Beethoven, one by Clarence
j. Blake, treating of his deafness, and
the other a mastery review of his
work as a composer, contributed by the
editor of the serial Professor John
Knowles Paine. So much for the liter
airy features of the work, the eminent
quality of which is sufficiently guaran-
teed by the names Of the distinguished
contributors. There remain to be eX-
amined the ustratiOnS-which are an
exceedingly valuable and instructive
feature. presented with mechanical
elegance truly delightful to the lover of
artistic printing--and the selected
compositions which serve as specimens
of the various composers best efforts.
From the serial parts one cannot get
So clear an idea of the discernment dis
played by Karl Klauser in his editing
of the illustrations as will doubtless be
ascertained after the sequence shall
have been properly adjusted in the
bound volumes. The first portrait pre-
sented TO us. in part one. that of Johann
Sebastian Bach, being the reproduce
tion of a steel engraving by Sichling.
after an oil portrait by Haussmann,
would, for instance, in the completed
volumes, occupy a place not far from
the middle of the first volume. a fact
that will perchance help to explain the
difficulty Of properly appreciating. in
the disconnected parts, Mr.. Klauser's
fine judgment and good taste. But these
are sufficiently in evidence, in every
number, to excite genuine admiration
for the care and thorOughneSs with
which his portion of the work has been
, achieved. Without wishing 70 fan too
deeply into details, we proceed to note
some Of the more striking pictures that
attract attention in the ten parts at
hand The birthplace of Sebastian
Bach at Eisenach, engraved from
photograph calls up visions Of in
Vulnerable ancient TeutOnic houses,
wide of gable and heavily coated. on
the sides, with plaster and whitewash,
that may be seen, in all their hOary
and solemn magnificence, throughout
mid-Germany. An ideal scene. Morn
ing Prayers in the Bach Family" gives
one perhaps a clearer insight into the
modest piety and quiet dignity of this
father Of German music than could be
derived from any number of printed
pages of letter-teXt. Equally notewor-
thy, in its way, Is the scene, also ideal,
of "Bach Before Frederick the Great"
commemOrating a circumstance of
semi-romantic interest. 1t will be re-
membered that Bach, descended from
eight generations or more of obedient
and peaceful burghers. was. in his po-
litical opinions, the very incarnation of
loyalty to king and state. Great was
his pride when his son, Carl Philip,
became established, in 1740 as chamber
musician to that queer but determined
old monarch, Frederick II of Prussia.
To Potsdam, one day in May, seven
years thereafter, repaired the famous
composer, intent upon visiting that son.
Tt was the old kings custom, of even
ings. to gather round him his family
ana intimates, and to entertain them
by his own somewhat uncertain per-
formances on the flute. One evening,
Bach was invited to be present and to
play, With what fervor he must have
responded can be conjectured when 1t
Is sperceived in the picture how the old
monarch after pacing, sword in hand.
TO and fro on the platform behind the
royal clavichord, suddenly stops. as If
transfixed, and gazes, a mute captive
to the overmastering genius of the
blind composer before him.
The frontispiece to part second con-
sists of the reproduction Of a steel en-
craving of Handel by Sichllng. after an
oil portrait by V. Hudson. This por-
trait Is said by admirers Of Handel to
he the best one known. The face is
large and horid, and it somehow re-
minds one of the portrait of james Ed
ward Oglethorpe which stared at one
from the school histories In boyhood
days. There are, in this part. five
other portraits of Handel, reproduced
from noted statues or busts: one pOr-
trait of Handel's father, who was n
valet and surgeon to the prince Of Sake
Magdeburg: and two or three views
Of moderate. interest showing the Han
del monument In Halle, Handel's house
in London. and the commemoration of
Handel in Westminster abbey. More in
Ateresting than either of these Is the
Reproduction of a caricature said to
ave been drawn by scene-palnter at
London theater. In spiteful retaliation
0for some reprimand received from the
composer. 1t Is entitled the "Harmo-
NOUS Boar and depicts Handel, as n
repulsive beast, seated before the organ.
playing, while in the background his
music causes a jackass to bray furious
~ 1t Is singular that man who, for
the great genius that he was, was in
character so noble, dignifed and truly
benevolent should be thus assailed. OF
all the great composers. Handel stands
forth pre-eminent for both nobility of
character and ballast of temperament.