The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1898-10-29
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Inauircr-please recommend some
books which will aid me III getting n
better understanding of music-es-
pecialy Of classical music.
Answer-I would recommend the fol-
lowing excellent works: Music as
Language" by a. J. Goodrich; Music
and Morals" by ii. r. Haweis; How
to Listen to Music" by II. e. Krehbiel:
"How to Understand Music" by w. S.
Il. Matthew'S; "Music in Its Relation to
the Intellect and the Emotions by
John Stainer; THE Elements Of the
Beautiful in Music" by f. Pauer;
Aesthetics of Musical Art" by F.
Hand. A better understanding of the
various musical forms used in musical
composition may be obtained from the
following works: Musical Forms" by
f.. Pauer; "Beethovens Sonatas EX-
planned" by Elterlein; "Beethoven's
Symphonies Explained" by the same
author "The Standard Operas" THE
Standard Oratorios," "The Standard
Symphonies" by G. p. Upton, are very
valuable works ] would also recon-
mend you to read the lives of the COM
posers All of the above books may he
obtained of Charles Scribner's Sons,
Fifth avenue, New York. This cele-
brated publishing house issues special
catalogue of books on music which you
would do well to obtain. A perusal of
it will suggest other interesting and
helpful books. The public library Of
this city contains good many fine
works on music, and the number will
doubtless be increased from year to
year.
\. L. W-How much does the great
French organist, Alexandra Guilmant,
receive for his lessons?
Answer--Monsieur Guilmants teaches
both in the great Paris Conservatory
and privately. The Conservatory is
under the auspices Of the government
and instruction is free of charge. NJ.
Guilmant's private pupils Ono student
is received into the Conservatoire who
is over sixteen years of age) pay him
at the rate of twenty francs ($D per
lesson. In addition they must pay one
franc to the organ blower.
o
H. T.-Why are the words indicating
the rapidity of movement, the express.
sion. etc, in music always given in
the Italian language!
Answer.-The musical compositions
of all the leading composers, irreSpcct-
| i've of nationality, are sung and played
| the world over. Suppose then. that an
! Engllshman, a German, Il Frenchman,
| a Russian, a Swede, a Greek etc.
! should each employ throughout his
| composition terms with reference to
! the proper Interpretation of the same
| taken from mis- own language. 1t is
/ evident that they would be generally
understood only in those countries
| where the Languages were spoken. II
, how ever, some one language is dcCid-
! ed on as a universal language in Inu-
sic, the musicians Of ali countries can
readily learn the musical terms of that
/ particular language from a pocket die
/ tionary, and the difficulty is solved.
/ This has already been done Tie uni
! vcrsal language in music is the Ital-
, ian language. Why this language was
I chosen in preference to any other is 4
matter pertaining to history. Italy
was tn" first to make music . national
. art ANA the compositions Of Italian
| composers were studied by the musi-
i clans and music-lOYcrS of other ma
/ tiOns, consequently It was natural that
/ the terms used in music should first
J hay" bren taken from the italian Ian
! guage. Although Italy mas lost her
! prr-eminenCc as the land of song"
tn custom Of employing italian mt
sical terms has commanded itself TO
all musicians irrespective of national
ity. Robert SChUmam was prObSbly
thh only great composer who some
| times departed from the use of the
Italian language, using German terms
instead, This departure did rot lind
favor even in the eyes of his country
men, and in all the editions of his
works IN Italian translation of the
German words appears with the lat
ter
o,
At Ia ~ I'm Inn,