The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1897-02-21

brought up to date. of a book that may be
considered the most satisfactory of the
several books which attempt 10 tell the
stories of the current operas. Mr. Annes-
ley's list comprises no less than 119 operas.
Notwithstanding one is surprised to find
no mention of Massenet's works, Faust
also at first seems TO be omitted, but the
reader finds that 1t is given under the title
of Marguerite" after the fashion of the
Germans, who use that title 10 distinguish
Gounod's opera from Goethe's tragedy.
The Opera" by r. A. Streatfeild.
has just been published by Lpplncott, Of
Philadelphia. In Mr.. Annesley's book the
story of the opera is the main thing. al
though most Of the operas are pretixed by
a few biographical and critical remarks.
In Mr.. Strea tfeld's book, on the other
hand. while the plots Of the most famous
operas are related. ii is only Incidentally.
the main object of the book being TO give
a brief and clear account Of the develop
rnent of the opera from Peri and Mont
verde. in the seventeenth century. TO Wag-
ner. Mascagni and Humperdinck. There
is also chapter on opera in England, deal
ing with Bale. Wallace, Benedict and
Goring Thomas. Mackenzie, Stanford. Sui
Ivan and Cowen.
Mr. StreatfeiId shows that he is quite
~ 20 date by including in this chapter
notice OF Stanford's charming ney Irish
opera, "Shamus O'Brien,' produced In
London last year. and now running with
such success at the Broadway thea
ter IN New York In correction with this
opera the author remarks: DIR. Stan
fords relation 10 the music OF Ireland -
here mainly what Weber's was TO the
Volkslied and there is no Inherent reason
why 'Shamus OBrien' should not be the
Freischutz' OF new school Of British
opera"
Mr.. streatfeId's book is entertaining and
instructive throughout. When we reflect
that we have good literature thousands
of years Old, and that although the opera
was invented 300 years ago. stat the oldest
operas ever sung now (Gluck'sl are bat lit
tie more Khan q century Cd. we appreciate
why al but about eighteen pages are
properly devoted 10 the period beginning
with and following the reforms Of Chuck.
The book has an interesting Introduction
by Mr. Funer-udaitlaud. the eminent rnus}-
cal critic. and is Of uEQuestionabi he interest
ana benefit 20 an students OF music.
Under the title OF "H0w to Listen
TO Music" recently issued bv Sorlbner's.
15r Henry Edward .Krebbie. has written
an interesting treatise that has attracted
much attention, inasmucb as NJ KTehbieI
enters an u-pgSses-ed feed While dla-
claiming any desire 10 edify either she mt
stcal professor or the musical scholar. ne
gives many hints and suggestions 10 IN
taught lovers OF the art. by the sgudy q
of which ne believes a ''rIiimentarY
knowledge may te gained that wlll open
the ears 20 a thousand beauties without
iu any way impairing the merely sersuous
enjoyment ana emotional excitement q
the listener" gle points out the dual ma
ture % music. its material side, which -
spprebeude3 through the sense Of hearing
ard Compre henGed through the intellect.
ard It's spiritual side which reaches Us
through The Imagination ard che emo
ti0lal part Of as" he then proceeds ln
cIea- ana ultechrica+ style, 80 o ru8iment-
AIRY analysis Of form. Ta3er the heading
% Recognition q Musical Elements" ara
discussed melody. harmony. rhythm, mo-
flVez phrases etc. Absolute music pro-
gTsmue music ard classical. romantic and
chamber music are treated of la special
chapters. while 0ae - devoted 10 ms mod
err orchestra 80 whIrh he gives minute
description II each instrument SIS capacity
and the manner OF its employ naent IN ths