New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-12-25
COMMON SENSE.
Dir. HenderSons Use of 1t IN Musi-
cal Criticism.

t"lI'eT' says Mr. Henderson. lis accepted as
learned comment on such characters as Bran
game" His book embodies a kind of protest
against the vast amount of ill-informed femi-
nine twitter which is offered If not ALWAYS ac-
cepted as learned comment on every musical
topic under the sun. He is capable of enthusi-
asIn, but he never loses his head. Though he
does not forget that music has to do with the
emotions he realizes that in criticising it one
is bound to profit by studying the subject in the
light of reason These chapters of his on Wag-
ner, Richard Strauss, modern Italian opera and
the oratorio of to-day are written in a terse
straightforward fashion. The author has neither
the time nor the inclination to frame eloquent
periods He goes rapidly to the root of the
matter as he understands il, and leaves an i'm
preston of complete critical sanity. Incidental
ly we may add. he contrives to be entertaining
Often in phrase, and sometimes in a whole
paragraph. he lets that in listening to
music he not only uses common sense. but gives
his sense of humor free play.
The opening essay, which deals with "Parsi-
fal," is particularly refreshing. Mr.. Henderson
has no illusions as to the atmosphere surround
ing the first performances of the drama at the
Metropolitan Opera House The extraordinary
pother seems to have left him cold. and. brush
ing the clamorous Wagnerites aside, he asks
simply. What is the real truth about this huge
ragout Of mysticism and orchestration which
IN the looming shadows of the Festspielhaus is
called 'sacred?" The answer this critic sup
plies TO his own question is much TO the point
In 'ParsifaI' he sees "a child of Wagner's
artistic decreptude." and he thus further char
acterizes il:
It is decrescendo in inspiration ritardando in
invention. More than any other drama of Wagner
does il rely upon the dazzling of the eye duh the
pageant to unmposing music, Wagner fired
heaven once with the immolation OF Brunnhilde 1t
be done again. The light the Holy
Grail is white and cold The entire machinery of
ard the electrician bTaveiy hold UP the hands Of
and Mechanic gIories and You viii lay bare the
skeleton of a system with only few shreds of the
flesh ief; upon IL The poem Of P asf is al
There IS vitality in the music are
told. than there is in the poem THE score of
this drama is mostly a long, faint echo of Wag-
ner's greatest works" OF course, the twit-
terers VIII hold up their hands in holy horror
when they read these words. but to the serious
student they are altogether welcome Mr.. Hen
derson IS aggressive. but he gives reasons for
his conclusions when he explains Wagner's
failure to adapt the theatrical principles Of the
Greeks to modern conditions by saying that lit
was because he was trying to do with calcu-
lating forethought what the Greek did spon-
taneously'-a judgment at which every pene-
trating critic OF the subject Is bound to arrive.
All Of the pages on "Parsifal" in this book
might be called. by the hidebound Wagnerte,
iConociastic but a matter of fact Mr.. Hen
derson has the nveest sympathy for the tom-
poser. and shows II Just as clearly In these very
pages as he shows Il In the others given to a de-
BghtfuIly brief and fnspiriting survey OF Der
Ring des Nibeungen-" The account of Strauss
has the virtue of avoiding the extremes of ap-
plause and detraction- Mr- Henderson is OBJ
viously not In love with the works of this mu-
sician but he takes pains to say the best he can
for him as IN this passage:
Richard Strauss. standing upon the vantage ground
made for by Berloz. List and Wagner. has
orchestra a higher plane by utilizing the best
elements Of their work He has sought to make
the orchestra tell stories. but he has made the
error Of Supposing that he could ignore the funda-
mental principles OF musical form which const1-
tured the ground plan Of the old symphony he
has utilized themes with definite meanings at
tached TO them Wagner did without confnng
himself to two. the older writers did, and as
IIszt did in most Of his works He has returned
fn hts later compositions the fashion or clearly
separated movements while he has made them pass
before the hearer without pauSes between any
two OF them He has developed his themes accord
ing % principles laid down by the symphonic
masters and striven to enforce their mean
ing Wit all effects Of orchestral color And
wfthal he has endeavOrcd TO compose only music
In short Strauss shown that the principles
Of musical FORM which the earlier writer's pain
fully evolved out o their attempts 10 produce
nothing beyond musical beauty. not only can De,
but be utilized by the composer VINO cares
nothing whatever about musical beauty. and who
IL KING a