New-York tribune., 1905-07-09


ing extract Will show.
Mr.. Washington writes:
Negro music is essentially spontaneous. In
Africa it spTang ntG e at fe war D6S bs is
African foundation the plantation songs OF the
% african students at Tuskeeee. there are in the
native African melodies strains that reveal the
America S and Africa but the imagery and senti
ens e to % wheh 5he @ h conS5 GnsS IN
under which the transported children OF Africa
negro race the same value that the folksong Of
any other people has for that people II reminds
It fosters race pride and In the days OF slavery It
bs %n Ggst T0r ae in OF
an outgrowth OF oppression and bondage. contains
has ever sung so sWeetly or with Such perfect
charity. while looking forward 10 the year OF
sions and in many instances are unique interpre-
TSe songs ' hae had sheir origin in virginia
and the more northern OF the Southern States;
where he was under the personal care and guild
anee & Gi his owner are n more bright ana a Joyous t @ IL
States where the yoke Of slavery was was more oP-
der in tone. less buoyant than are those of the
upper South The question is often asked,
colored people. and to what extent are they being
benssr used bu little fr but in the saeT oWHs and
in the country districts, where the cOored people
and m nes ones appear from ms to e Several
schools and colleges OF the South make an effort
to preserve these songs. and at Fisk Hampton
and Tuskegee they are sung constantly i N New stu
casionally bring In new ones.
II is easier to make apital collection OF classi
cal songs representative Of everything under heaven
than TO compile volume like that put together by
Mr. Hughes There no copyrights in the way
and has the world and a century to choose
from. OF there could be no standard of
comparison in the matter Of excellence between tho
hypothetical miscellany and the book before
The only test of Americas relative significance y.
the song field would be provided one to put
the thirty American songs beside thirty German
lieder thirty French melodies and thirty English
ballads. In spite Of the proclamation of merit
which Mr.. Hughes makes in behalf of his cotere.
with which We not going to be churlish enough
to quarrel we should not see the expert
ment tried. except. perhaps, in the last case Man
for man. and woman for woman. America can prob
ably match Great Britain in the lyric prize ring.
Mr. Hughes has most amiably constituted himself
discoverer, champion and prophet of the American
composer, who, we are asked to believe, came
into the range of vision some ten or fifteen years
ago Between the era Of the Red Savage and the
aposee of Professor Paine there would seem TO
have been music of original manufacture in
this country. Alas. for the waste generations and
those who dwelt thereinI MIR. Hughes marshaIs
his host of thirty and presents them in valiant
'front.' all pictured. all Biographical for the bene
mt or present and future historians We must
can the roster; John h. Paine, Dudley Buck
Homer N Bartlett Adolph NJ Forester Wilson q.
Smith, James H. Rogers, Henry B Pasrnore C1sv-
ton Johns Harry Rowe Shelley Reefna15 Ne
hoven' Richard Henry Warren C;errtt So
hehry Holden Huss. William Arms Fisher r,Lo,
I pit NeVin FREDERICK Field Bullard, W. J. RaItzaI1
Harvey Worthington Loomis Natbsrt., I'
hyatt, Homer A. Norris. Clifford n page IIan-e
r, Gilbert. Victor Harris. Henry X HadIaT- r,,IS
r. -,aaaey. Arthur Farweu Rubin CzoIdr,s-1 TT
Clough-Leiter. John P. Marshall David sran1a,. -,
Smith iu Stanley
Mr' Fnlhp Hale has gathered songs n All +uro
volumes from more than thirty French conDos
S' 80 'hat II one wishes to institute a compari
"on between the two groups (Which need NOT b
ouIousl ne mas his material at hand Mr. HaIes
coHectlon evinces fine as well as a broad Lrou-I
euse OF the song literature OF France as also
S ms preface. which is the most delightful es
say yer written for the Ditson publications Tbera
are sketches OF the composers and portraits b.,
these are of small interest con,n,rad 1T -
historical study Of French song reaching ha,t =.
ehe uaEs when Cesar wrote "Omnia CALI, >. a,c
PtepaiaIoh OF the volumes was plainly n
work OF sympathy akin TO love Here ts ~
french roster: Herman Beniberg C,Iaudins pI,r
Jules Bourval. Pierre de Breviue C,s,ia o.
made, Ernest Chausson. Hedwige Chretien ArtbI,r
Coquard. Achille Claude de Bussv IAo DaIIbas
Henri Duparc Gabriel Faure, G. FerrarI Fl da
rohteha'iies' cesar Franck. Alexandra Georges.
Benjamin Goddard. Charles Gounod Revns1do
Hahn. Auguste Holmes Georges tIns vt.oo..
INDY Edouard Lalo CASTOR I.emaire Xavier
leroux' Jules Massenet. Emile Paladilhe F.miIa
Fessard Gabriel Pierne Guy Gopartz Baroness
WHY de Rothschild Camille Sant-Sasns Am,
orose Thomas Francis Thome. Charles NJ W1dor
from g. Schirmer, New-YOrk we have n sat Of
exotic songs In the extreme OF the French roman
TIC vein with pianOforte accompaniment and
viola obblgato by Charles Martin Ioenler and n
group Of German lieder also in the modern stvle
but vastly different in structure and ueIodtc
thought. by Ottokar Novacek Eoth groups are
interesting enanations of the latter day spirit
10 the Schirmer list OF operas has been added ven
"eber's Der Freischttz' with Natalie Macfar-
ren's translation revised by DR. Theodore Baker
and an introductory essay by Richard AIdrich
The essay discusses in an entertaining manner
the many vicissitudes of the opera during its
composition its progress through the musical cap
itals OF the world. including New-York. where it
had its first production March 2. 1925. at the
Park Theatre. In English. and. doubtless in an
"adalted' FORM The subsequent history OF the
opera Is outlined thus
IL successful for a time here as IL WAS
erywhere else. and the "IncanJatiOn Scene was
the sensation of the theatrical season. Other
sions were brought over; in 1877. Charles r. Horn
noted as singer. actor and composer OF songs az
his little book about the opera. mentions per-
fornanees that were given of IL in New-Orleans as
The Wild Huntsman OF Bohemia A German
performance was given in New York early as