New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-06-05

again to give their enthusiasm on the naVAi
victories OF 1917 One OF the English paraphrases
was directed against enemy OF to-day and De-
gan:
Come cheer UP, my lads, let us haste 10 the man.
And rub out old scores with the dollars or spain
And there are circumstances which give the eie-
ment OF appropriateness TO the second stanSa OF
the original song:
We ne'er see our foes but we wish them to stay:
They never see us but o fhSy wsh ns mem ashore
For n they won't fight US we cannot 40 more
Here is a paragraph apropos Of the song from
Crokor's edition Of Boswell. Life OF Johnson:
Boswell. in his visit to Corsica says tha, the Cor
sicans requested him to sing them an Engnsn sTas
and he sang them Hearts OF Oak Meyer EYER, Hu =
were with Hearts Of oak 'Cuore di querco" cried
they % b. 1t Teeru ne sea 0yans ROT
fancied all my chorus OF Corsicans aboard the hr'-
ish feet
Mr. Gladstones Latin version Of Rock Of o 49,
written as far back as lsis and II was lnciuaen
Rir ine Hon w F. GIadstone published in 1881 By
permission of the Liberal leader was set
ham Musical Festival Of 1855, the festival which
likewise saw the psducon Of Ggnnod MG1s E.
Violin Concerto and stanfcrd's Three Holy Chill
dren II is Of fu enIhem PROPORTION. VIII St,hr oG
commandment for orchestra organ, ana aIter an
instrumental introduction II opens mourntuly WIN N
barytone solo and chorus There Is Grange 1ed 10
amalasous in the Latin 10 Not the labors Of my
and he f WSoe ending peacefully with the
theme the Rock of Ages. Mr. GladSytonne
h hyPn Ee Knew seu It is Sc s pub
shed in The Nineteenth Century in $50 s ana ,ee
from Dr. Neale's Art thou weary? Art thou AN
guido dtsef is said. borrowed from, the G G,
van among numerous other musicians. has com.
posed hymn tune p1pulary known y ai kReWn
MIR Gladstone was not very frequent visitor 70
me opera or we de- ~ears ago and he also little
iatey attended during Senior Lagos season al he
Uys pc T1s e. Gf 6S%esGr aHk
avowed his taste FOR the older meodiG fatner man
M ne Arihur Be- -four was an admrer of Handel and
down TO few years ago he frequently Attenu 1
sitting in one OF the royal at the rear Of tho
amphltheatre -H>ondon Telegraph
Tho orchestra situation in New-york Is not likely
70 undergo change IN spite Of all tho recent talk
Nom,naly. however instead ~ being in the com
fortress position frequently hewailed or having
no ''perrnanent orchestra" we shall have several
Tho METROPOLITAN Permanent orchestra. poTularY
snoken OF hitherto AZ Mr. Sedls will give concerts
on the roof Of Madison Square Garden. under
m. direction Of Henry schmtt. Mr.. Loewens'rin
will organize a "permanent orchestra under the
direction OF Mr Paur. TO give concerts next season
I'm the waldorf Astoria and elsewhere The New
York symphony Society Will abandon is concerts.
hut New York symphony Orchestra '"nl'h ~
mo body ~ musicians that gave the symphony con
certs under the direction OF Mr. Damrosch) has
made public PROCLAMATION that Il does not intend
10 abandon IT, organization of course tho orche'-
ira at the Metropolitan Opera House Will b" rs
permanent engagement for seven days
week from October 10 May can max" H. and an
element OF permanency may be said 10 attach 10
the Philharmonic Society by virtue ~ its nearly
three decades Of exstencs Happy Ncw-York' F1vc
permanent orchestrasl
Apropos Of Mr. Paurs agreement 70 try his tate
in New York called on 10 read paragraph
recently printed in the "Signsie." a mufral Jour
nal ~ r~ps,c Mr. Pat-'s old home. In n spirit ~
uberaity Here Il 10 In translation. "Capellmesi"r
Emil Paur. Of Boston. seems 10 D" tired or Amor
tea Although efforts are making to keep him in
Boston and 20 engage him as Solids SUCCESSOR IN
Ncw-York he Is longing go he writes us) 10 return
to his home and would prefer to accept a conduct
orshp in Germany"
Comment has been excited lately ny the appear
ancs ~ a number NJ books which look TO the cdu-
alton Of the general public IN musical apprec'-
alton That tho phenomenon Is significant scarcely
renuires proof: the only questions are; Are the
hooks called for and have they any value "
the subject we're any other than music the first
OF these two questions would never arise. Is II
worth while for the public to know how 10 think
about artistic things? Can the pubc's appreci-
alton OF artistic things be heightened ny ntrfhS'u
know edge OF the principles Of beauty as manifested
I'm the concrete forms No one would think for
moment Of denying such propositions In their rela-
tion 70 the pa site arts. 10 poetry or tn painting
We, in the case Of music the value Of special or
general education as help 10 enjoyment has fire.
nuently been questioned and there have not been
wanting people who have argued that the simpler
tho activity OF apprehension the keerer the enjoy
ment ~ don't want 10 work at a concert but TO
rest and enjoy myself" In popular phrase with
tber, 81 inst want TO drink the music in and feel
~ knew anything about II I might hear faults
which 10 not trouble me now. and then wouldn't
be happy" II has therefore. come to pass that
the one art which. because OF It's ethereal nature.
demands tfaned appreciation more than any other
ia tho only art in which there has grown up n
cult OF ignorance. The writerb OF tho books to
which reference has been made plainly DO not be
lieve that knowledge is harmful 10 enjoyment In
music Like Mr.. Henderson In What IL Good
Music"1 published by Charles Scribner's Sons.
they arc more disposed TO think that ill-regulated
feeling which Is sure to run out into silly afrccta
tion il prejudical to the art and its votaries
than the severest exercise Of the intellectual facul
ties Yet II any Lesson at all is taught In Mr..
Henderson's admirable little book. or Mr.. Kreh-
bells How to Listen to Music" which preceded
IT, II Is that proper appreciation OF musical beauty
Is dependent on a symmetrical adjustment OF the
inteectu al. emotional and sensuous faculties. To
that end Mr.. Krehbiel essayed to bring TO the
possible Of the things which call for attention at
a performance-th the kinds Of music. the character
and scope Of tho agencies OF utterance the forms
employed the composers aims. the scope and
limitations Of his art. the terms used to publish
his Intentions and the reciprocal attitude of mu-
stefan. critic and public In Mr.. Henderson's book
there Is something OF all this and a detailed
discussion Of OF the features The work IL
divided into two parts after a prelude in which the
short sighted popular attitude liz set forth with
much grace and spirit In the first part Mr. Hen
derson discusses the qualities OF good music: In
the second tho qualities OF good performance.
Under tho first head there chapters on the
forms and the content Of music. In the second
part there are studies OF the orchestra, chamber