The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1902-12-07
WRITTEN FOR THE SUNDAY PEprBLJc

"niiIhN FOR THE SCNDAY REPUBLIC.
n BOOK that Will prove to have few. II
any, equals of its ri@ss Is Daniel Gregory
alas"n's From Grirg to Brahms" ahict
presents critical estimates Of the greatest
modern composers. together with two es,
gays. upon the appreciation Of music and
'he meaning of music. that for clarity oi
exposition ani fUI!. rich meaning must
convince not only thorrushgoinR music
Lovers. but the general raadcr of their SUI
itrlor excellence. Moreover iIr. NIasDn's
York possesses merits az form auI style
that render it unusually at:rl~tjvc ana just
II ent!tie II TO praise Independently OF lis
substance.
he best appreciates music. who brings TO
1t all Of his human powers. who feels It
r~motionally and comp-e:lcncs it intellect
ual'y. TIL" highest pleasures Of music are
not the mere swoonir= trafcelLl;e joys OF
sensation ard suggestion that produce the
emotional goose uUiaps'' of which psyChol-
"gists speak; but consist Of these tempered
by an appropriation OF the 3-autie3 Of
form and expression. which lends p~0ignacy
to the effect and sharIsrs pleasure
Analysis Of the principles f ~fGGsical CT
feet. us the author ger:,;:rs T.. - h. no
means n Decorating process bat rather
. beautiful story. A. H. phrases it him
self. "One can a~uaiyZe without dLssectiaS:
one Gun recogniz" that . AuTcr has petals
without pulling them ont: and iE.;e-d it -
hard To imagine any one approaching the
true loneliness cf = i,U :. Its formed. ate
uiat"d beauty. without such recognition.
Broadly ~sreakins. the Development Gf
music has come through conflicting struC-
e'cs between the emotional aad The intel
iectual eisrnent-the one romantic and TIE
other classic-the one enrichiug. the other
refining. Development so to speak has
'Ziszag"d' between Two extremes. the senti-
menta'ists who assert that Expression is
everything and that music IS but the
language Of tie emotions and these who
maintain that form is al and that music
Is only audible Mathematics
None Of the s.H composers discussed By
Mr.. Gregory may be regarded as eX:reTn-
isIs. but as illustrating TIE opposing tend
cHcies in some degree. In passing from
Grieg to Brahms the author has az
ranged them in what he cUnceivcs tn he
the order Of their influence on art measured!
b. their power both to asslini!aJc previous
resources ana 70 add new ones. They are
considered in pairs.
Gr!eg ana Dvprak. tie act!or Ila!ntains.
are the least inclusive and catholic OF
modern composers. Grieg .ur.ues a person.
al veln and is among musicians what
Charles Lamb and L~iEh Hunt are among
writer's. he combines effect with hnesse. il
but never epic or universal. and
ADDS nothing to musical tradition. Dvorak |
on the other hand IS the most rational"
Of composers. a FoTantic;st, a deep-dyed
iophciiiiah' MS style cuF!oISiy pTuvinCiai- |
a natural musician raised to the power
and lacking Grics's exquisite he.u:!es OF
FORM. Says the author. IBIS substance is |
too sweet and too ornate to be profoundly !
Many musicians will differ
With Mr.. Nasoa'S estimate in this part!cu- |
thew contend that DvOrak's "orEat8- |
II this be quite the most suggestive
term In this connection, parta.Ses Of sweep |
Ing power. and significance.
both GF!sg and DYurak contributed much !
the lighter side Of music. but says the |
author. ARE not masters Of deep fool |.
ing and W;ae SCOPE" As to the former I'm
ioao'eoly thiS Is true. although again some
especially Americans. will take
as to Dvorak's lack If d pth and scoge.
n me minds Of many his New World SYM
phony. for instance. displays both.
as 10 sline-SaeHs and Cesar Frank. the