davidaulloa/AmericanStories huggingface dataset:
New-York tribune., 1912-06-09

Touching the value Of realistic suggestion
and all manner OF prog-ammato music
something shall be said presently; let IL
suffice now that IN the degree that MUSIC
attempts simply 70 copy external things IL
walls In tho scale OF artistic truthfulness
and value. Vocal music tolerate5 more o.
the descriptive element than instrumental
because 1T IS a mixed art; IN II the purpose
Of music is - illustrate the poetry and. by
intcnslfying the appoa! 10 the fancy, 10
warm tho emotions. Every piece OF vocal
music. moreover carries its explanatory
programr.e IN its words. Still moro tolor-
ahlc and even righteous IS 1t IN opera where
IL IS but one of several factors which laoor
together to make up the sum OF dramatic
representation. Wagners lyric dramas ara
a moro complex art-form than vocal COM
positions, with or without an instrumental
adjunct. designed for the church or con-
ccrt-room they are q mixture OF music
words. pictures and pantomime In which all
tho elements, or factors, arc 'ntcrdependent'
Or Parrv's enumeration OF examples from
Tho Ring ot tho Nib"l1nE' therefore
scarcely CALI for comment
New-York tribune., 1912-06-09

down as the most humiliating fact IN the
history Of the people for whom Beethoven
wrote-the fact that It was with that pattie'
niece. no higher in the artistic scale than
Kotzwara's Battle OF Prague" that the
composer Won his first great popular SUI
cess, and that he himself saw hotni'e
anomalous in assocating 1t on prosraiii'i'
with his Seventh symphony! DR.. Parry 10
tolerant, though judicious. In his attlluoo
toward realistic suggestion ana even mn
tation except where imitation Is again
Initiated by inadequate agencies, because
he is convinced that in the future IL may
challenge more attention than 1t has cha'-
lenged In the past, "for It is a point where
tho combatants arc likely to meet In the
field Of battle between the two most wldeiy
antagonistic parties; and the champions OF
culture are temperamentally inclined to De
hostile to a device which so obviously ap-
peals TO the uncultured." We wish that
instead OF merely recording the fact that
the efforts of composers to transfer Nag-
ners methods Of delineation to the concert
room and the development Of the resources
Of technique arc tending to create mutuai
recognition "of the share Of the eXternals
in tho complex Of artistic presentation,
as illustrated in the music or Rlcharu
Strauss. as witness ''the discordant turmoi!
Of trumpets and battle noises In his Hell
denleben,'" DR.. Parry had condemned that
dlscordant turmoil as being even less de-
fensible that the imitation of musketry and
cannonading IN Beethoven's battle-p!ece.
Also. that he might, as Sir Charles STAN
ford has done. quoted Wagner's observa-
tons on programme music made In conver-
saton with Edward Dannreuther. WaS'
ner IS held responsible for 30 many
alterations from what Is true emo
beautiful in music that 1t Is only an
act Of Justice to let him set himseit
right here. Said Wagner to Dannreuther'
Give me Beethoven's quartets and So
natas for intimate communion, his oveI
lures and symphonies for public perform
ance. l look for homoSenelty OF ha'eI4ai
and equipoise of means and ends
went straight back from Palestrina ~
Bach, from Bach to Gluck and Mozart. -
or. II you choose, along the same pd'ni
backward In instrumental music
like everything that requires d Verpal eN
PLANTATION beyond tho actual soundS. tor
instance. the middle of Berliozs toucniiis i
scene ddmonr in his Romeo ana Juiie.
meant by him 10 reproduce In muslCai
phrases the lines about the lark and the
nightingale In Shakespeare's balcony sceHe,
but 1t does nothing of tho sort-lt Is @ no.
irteliigihIe ne music. This so-called
symphonic dramatique OF Berlioz's. strictly
speaking, is no symphony at all Inere Is
no unity Of matter no unity OF styIe.
When occasion offered l could venture 70
depict strange and even terrible things IN
music, because the action rendered sucn
things comprehensive. but music apart ron
the drama cannot risk this Tor 1"sr OF p''
coming grotesque
New-York tribune., 1912-06-09
OLD POINT COMFORT.

Old Point Comfort, Va, June S.-With the
booming OF some six hundred cannon. in
honor OF the arrival of President Taft, the
visiting admiral and the admirals com
manding the two divisions of the Atlantic
feet ON Monday. Old Point Comfort was
the nOiscst and most exciting place in the
country. for not since Georgia Day at
the jamestown Exposition, when President
Roosevelt came down to review the com
bincd American and foreign ships. has
there been such demonstration. and on
every incoming boat and train were hun
dreds cf visltors eager 10 bo here when
the German fleet arrived. and al o clock.
"hen the ships came into Hampton Roads.
there we're hundreds ~ persons gathered
along the waterfront and on the vide We
ran1a of the Chamberlain
Every time an admiral bearded or de-
Parted from a osrship the great guns
New-York tribune., 1912-06-09
MUSICAL IMITATION OF SOUNDS.

Dr Parry has not much 10 say on real
!st!c suggestion in music which IS oor-
roWed from sounds because, no DOUBT, ther>
aro fow sounds IN nature which can be
copied ~ music and music based upon
them IS % the lowest order. Tie cuckoo.
whose lttlc phrase "porvades the lighter
phases Of music from tho sixteenth century
onward" is mentioned. ot course. and 10
arc the cock and hen. which were also much
favored. and ono composer of that century
devised CanZona IN which whole body
81 singers were set UP 10 initiate the c!uck-
ing n: hons IN rhythmic harmony; but
~. Parry says It IS advisable n disun-
ru.,h between ilc usc of the dcric" as q
sort OF Joke and IT'S use 'D moro or i"'S
serious music as a part - a wid"r artistic
pu~posc IIe gives no illustration ~ III"
two uses. Nut e tho reader wants ono he
rc,ia ouir - look ~ This translation ~ IN"
c,urking az hon and tho growing NJ
cook from ra~oh walters 'Galne It
Gallo tt.,I
New-York tribune., 1912-06-09
Programme Music: Its
Elements and Its Value

OF savage peoples to-day is not necessary
TO discover that It is frequently based on
imitation Of natural sounds; and though we
know little about the music of classical an
tiquity there are ancient legends which
plainly show that imitation and tone pant
ing played an important role in II. Inc
story that Pallas Athena fashioned the frst
flute out Of the leg bone of n deer for the
purpose of initiating the sounds made by
the snakes on the head of the Medusa
points that way, and there is, we believe
somewhere in the old writings an account
Of musical composition descriptive or the
combat between Apollo and the Python III
which the kissing Of the monster was imi-
tatod In the instrumental part-perhaps
also by onomatopcs
IT is seldom that modern writers 90 bach
Of Bach's "Capriccio on the Departure "i
a Beloved Brother" or tho biblical Son
atae" of Kuhnau for examples Of realistic
suggestion, but DIR. Parry calls attention TO
its existence in some Of the finest examples
Of the pure choral music of the Roman
Church, where one would least expect 10
lind it, Thus Palestrina in his settings OF
the mssal text frequently ana lrdnhI!
makes the voices go upward wheh 'ho
word "ascendit" occurs and sometimes IL
terprcts "passus et scpultus est by doWh-
ward passage. After Pedestrians time says
pr Parry, "it became almost recoGnlZ'V
habit to represent either 'resurreXlt OF
'asccndit by rising scale, or rslh6
mass of harmony, or some other analogous
method and tho traditional attitude OF
mind is quite frankly indorSed by beethoven
in his ereat Nissa SolenniS, where the
word 'ascendit' induces ascending scale
passages. which extend over the whole
range Of orchestral practicability.' The
illustrations referred Ia are apposito. but
thfrc are many moro in the classics which
show that devices which rest on association
may be made so beautiful and effective that
all thought Of their origin may be over
looked. Dr. Parry cites Bach az perhaps
of All COMPOSERS "the most liable TO include
reference to externals I'm his infinitely COM
r,ev musical Interpretation of any situation
or any salient words. But inasmuch as 1t
is always made subordinate to the intense
musical interest and the richness Of artistic
texture II often passes unnoticed lie al
WAYS seems 10 be impelled 10 follow ana
represent every suggestion of . word by
molodic treatment. II a man falls It Is
represented by fall OF d considerable ana
generally noticeable interval" But there
IS nothing in Bachs musical delineauons or
movement and altitude 10 compare with the
drop IN voices and instruments on the
words "ihr stjjrzt nieder" in the choral
movement Of the = minor symphony ana
the shimmering high harmonies which iol-
low 10 suggest the celestial abode Of COO.
C"Bruder. uberm Sternenzolt muss Elm gutter
Wafer vohnen."D Nor arc thoro many eX-
New-York tribune., 1912-06-09

Nj and Mrs. &. {. Davidson and family
OF New York, are at the Pcnnhurst
Miss Winifred Aarada, OF New York, -
a the Shelbourne.
Dr. and Mrs. f.. Franklin Smith, OF New
York. are at the Hotel Dennis.
Mrs. Thomas Conan, Of New York, ac-
companled by her daughter, Miss Theodore,
are at the Hotel Traymore.
Mrs. J. Butterly and Miss Rutt@rly. OF
New York, are at the st. Charles.
Mrs. NJ. j. Bryant, Of New York, is at the
New England.
Mr.. and Mrs. d. Wolf OF New York, is
al the Iroquois.
MIR. and Mrs. c. \. Winter, Of New York.
are at the Lorraine
Mr.. and Mrs W. II. Ross, Of New York,
are at the Jackson.
Mr. and Mrs. J. Browning, Of New York.
are at tho Rudolf.
Mr. and Mrs De Witt Weed OF New
York. are at the Grand Atlantic.
Mr. and Mrs H. Hoffman. OF New York,
are at the Raleigh.
New-York tribune., 1912-06-09
ATLANTIC CITY
Good Fishing Along the Board
walk.

Atlantic City. June &-This is the reJu-
venating time down here by the edge OF the
sea. Doctors and lawyers and other pro-
fessional men are taking advantage OF the
indispensable June days. 1t is the cream
of the seasons weather, with the weak
fish never biting better and with foun-
ders still with the sporting fraternity
and the bay perch still on the job
Many good catches have been reported
during the week. and with Old Sol con-
tinuing to warm the waters as he has been
the height Of the fishing season. from an
Ike Walton standpoint, will be reached in
q week or more at the latest.
Atlantic city never before in all her
varied history saw such food of medical
men. The American Medical Association is
in her midst, and its members are making
their presence felt All manner OF vital
topics have been discussed during the week,
and every space available for a meeting
has been appropriated by the different di-
visions of the convention.
Athletic young men bathers are busiy
engaged In launching their diving boards.
b Ia Hawaii these summery days down by
the sea. The game is to throw the board
3nto the shallow surf 30 that Il will noat
along in All inch or more Of water, then 30
jump aboard keeping the nose OF the board
elevated The impetus given by the expert
Jump propels the board through ffty yards
or more Of surf. and the hathcr stops and
starts ell over again
The bathing season has been oficially
erene6 Nine beach guards ere already on
cuty ,sscuing venturers from vatery
rraves When th4 season reaches its height
there will Re sixty-hve guards on duty
They are wearing the same red coats ss of
yors, and remind one of group Of Bare
leegeS Tommy Atkinses.
New-York tribune., 1912-06-09
The Opinions of Some Emf
nent English Composers
Are Here Reviewed.

IN a discussion i'm this journal OF
fortnight ago Of National Schools or
IL Composition music was described as
the most lawleSs OF all the arts and the
one most subject to change because Of Its
nature, 1t being n mere projection OF the
human will undirected by models in the
external world and not answerable to criti-
cism based oil imitation and comparison.
BY this the writer old not mean that there
were no aesthetic canons by which 1t might
be judged. but only that it owed no al
legiance to the canons which regulated tho
arts, which in the concrete are initiative OF
things found in the natural world. Like
them, however, it is subject 10 the laws OF
beauty and limited by its content and Its
materials of expression
The subject is brought into the field OF
discussion by two books recently given to
the world by two Of the foremost musicians
and musical thinkers of Great Britain.
Sir Charles Viuiers stanford in his "Musi-
cal Composition; A Short Treatise for
Students" New YORK: the Macmillan
Company and Sir G. Hubert H. Parry In
style In Musical Art" CLondon: Macmillan
q Coz devote chapters to widely prev
alent phase Of musical composition when
are extremely suggestive, illumlnatlNe ana
Instructive The former treats the phase
under the head "EXtraneous Influences IN
instrumental Music: the latter in a chap
ter devoted to Realistic suggestion.
Both men, being creative musicians, are
frank I'm admitting that realism, based
upon imitation Of natural phenomena
which have nothing 10 do with music IN
its rllre estate has taken 50 strong a hold
upon the modern art that 1t must he reCk'
oned with by the composer. as Wei as lHo
mere listener or critic; but they are also
Of one mind in setting down programme
music as Of a lower order than absolute
music which speaks for Itself by sound
alone. and scorns the devices bE Which
appeal is made to the ignorance and the
had taste Of tho multitude.
New-York tribune., 1912-06-09

strictly speaking, in non" OF these IN
stances can the composer lo said 10 be
Initiative Music cannot copy anything III
the external world except sound. II cannot
copy water but 1t can seem to do what
water does, and 80 suggest water. but
even here. and especially in tho examples
cited from Palestrina and Beethoven Vhicn
refer 10 ascent and altitude and descent ana
depression Beethoven brings his voices
down on the "deScendit" in his great mass
the device Is based on conceptions when
are wholly arbitrary. \ musical tone can
not have position in space such a. Il in
dicatod by high and low. yo' 50 familiar -
the association OF acuteness ~ pitch with
height and gravity Of pitch with depth
that composers. as has been iniimated' al
most Systematically delncate high things
with acute tones and low things with hiSh
toncs, as witness the bea ltiful example
from Uandcls Messiah IN which more
over. the effect q heightened bv tho hiGh
voices and close harmony In III" iirst phrase
New-York tribune., 1912-06-09
end the low voices in unison IN the secono'
t.se.g#e=f.f.z=.##E5IB tzi.:sleEs..zsg<##.e=f0.ff.z=.##5IBE
= 81
Glory to God In hshgbess .sudpsaceoD earth

In a like manner Beethoven describes the
ascent into heaven and the descent into
hell I'm the Credo of his mass In d. as mas
already been said. Beethoven music IN
decd IS full Of tone-paintinS, though no
never desccnds to bald imitation OF sound
rot even in his quotation of the songs oi
birds in the Pastoral symphony. here
room must be made for another eAaHpie "
which Or. Parry might have deVoteo NJ
tention since 4 exemplifes a dual device
II is from the cantata very unaccouhtaoi!
neglected by concert institutional entitieo
"Becalmcd at Sea, and a Prosperous
Voyage; I'm It the composer calls ny an
image Of the immensely Of the ocean pg
sudden extraordinary spreading out OF MS
harmonlcs. which is musical, and dwelling
a long tIme OH the word distance
C'Neite"). which is rhetorical as well as
musical.
New-York tribune., 1912-06-09

limited. So, when realistic suggestion ,s
used in such music II follows by slmple
laws Of quantity that it occupies 1aT 'oo
great proportion Of the teid nort,on OF oet To- the
manner in which they invite the mlId III, IN
all directions. The mind grows Iast Dy
what 1t feeds upon. The art whlcn Govt Govt
stantly reveals new phases is a constant
source Of higher enjoyment. sometifnes ne .
realistic suggestion may even show tne
mind where to look for the new phase.
may invite the attention OF the hen., ana
minded where they may afterward ma
something more to the purpose 70 dweii nia
upon. The superficial composer writes ms ms
superfciality where all may see IL III NE
misuse Of the device. and those wIioso =
minds are fully awake are thankful Tor an an
opportunity to distinguish true quality ~
the works which show tho true sense Oh
proportion.
Sir Charles accepts fully the dicta or
Schumann on the subject-Schumann, tho
most idealstic and poetical OF program
matio composers. It was his doctrine, rre-
quently laid down, that while pro-
gramme might not hurt good music, pad
music would never profit from It. The ulti-
mate question goes to the music itself, ana
as such. So Stanford, after quoting Wag-
ner's utterances to Edward Dannreuther,
adds:
The writer has quoted these excerpts dt
length because they are the appeal OF one
OF the greatest masters OF our day 70 the
rising generation to abstain from wrltlng
forrnless, illogical and ill-balanced, Work
for the concert room. Wagner would nave
been the last to disparage SUCH master
pieces as the "Leonore" or the. "trel-
schtitz' overtures (Which are so far pro-
gramme music that they illustrate BY an
ticipation the drama which they introduce,,,
or as his own Flying Dutchman',
"Tannhauser," "Lohengrin," 90 Tristan.
"Meistersinger'' and "Parsifap' preludes.
All these will stand the test OF being
listened to as instrumental music ana WI
need no explanation to make them lnteilgI.
BILE and enjoyable for their own saKes. IL
is true that they gain In viyidness or sug-
eestion when the opera which they preceue
Is familiar to the listener, but as concert
pieces they are entirely satsfylng Wltn'
out title or a story. They represent
therefore the only type or programme m
music which can stand on its own 1est N
the concert room. and both form ana o. :,
nallty are necessary ingredients IN thel1
composition. The only gauge OF the 'd.uS
of a piece Of programme music is tiIe
Judgment Of sound musician VINO neaIs
IL without knowing it's name or It's story y
II IL ptands this test II will JUSTIFY us eA-
istence II It does not no amount OF SEN SEN
sationalism or brilliant orchestration VIII
lengthen its short life. H. H. H.
New-York tribune., 1912-06-09
THE ULTIMATE VALUE OF PRO-
GRAMME MUSIC.

In considering realistic suggestion fur
the- Dr. Parry discusses the echo pieces
which once lad great vogue. the use made
oe tho sound OF bells. tho murmurinS OF
water. citing here a beautiful example
from Cdvallrs opera 'Erco,e' Cs69 90
which might be added Schuocrt's brook.
which winds and sings It's way through
the song-cycle "DIc sch0ne Nlllerin,' and
the Scene ~ the Brook In Beethovens
"Pastorar symphony and m" effort OF sew
cral composers 10 depict mental pertuiha'
tion by trcmblins- OF the voice or rap.dly
reiterated tones on Instruments. IN this
category be mentions the chorus Singing
IA shuddors" al the fall of the statue OF
Pallas !u Cosrrs opera "Pomo doro.' This
can be paired with particularly amusing
oNampIr of the samc kind ~ ahsurdity ia
a much more recent composition. 4 mass
for the dead. composed BY Gosscc on inc
death OF Mirabrau. is still extant. In II the
words "Quautus tromor est futurus" tho
composer sot thus:
New-York tribune., 1912-06-09

90 On oo co % % sd,t s'a

. or D'Aqu.n'e eAquisitely poetical 'Ir tou-
con" Pieces mauifestly designed - rails"
a laugh our author places IN the ''irre-
pressible category" IN which no places
Jannequins "Cris do Paris" and Orlando
Gibbons's "C-tcs Of London" which do not
help I'm the least 10 show the place and
function o. realistic suggestion IN genuine
art except IN tho negative sense that al
the commonplace limitations Of the actual
sounds OF battle Illustrate the characteristics
OF tho purely trivial mind OF all times; which
takes no notice OF the more moving ana I'm
rrcssive aspects Of war, the heroisms and
horrors and Civilizations and dcspairs, but
is merely amused by the superficial aspects
which appeal most 10 the senses. II Is only
when people are giving less than half their
minds 70 the subject that they VIII suffer
such things 10 pass as adequate. And that
is where the explanation OF the fee!lng peo-
nIe hnve about these battle pieces IS to 30
looked for Tho absurdity OF suggesting
such fearful subject IA tho wholesale
slaughter OF human beings, or even tho
pagcantry OF battle array. by trumpery imi-
tntIons OF the lttle bits OF phrases sounded
by military instruments. Is so grossly obEl-
ous that when the mind IL awake II can
only save Itself from rage that anything
s.. idiotic should be perpetrated by n shout
der Struggling laugh" And yet. as d.
Parry points out. Frescobaldi, actually
the greatest composer OF organ music" and
Byrd, "without n superior In virginal music
NJ tho end OF the sixteenth and beginning
Of the seventeenth centuries. both wrote
battle pieces "for the domestic keyed in
strumcnts, and both afforded examples OF
tho worst kind OF realistic suggestion"
our author needed not to have stopped
with this animadverslon on Fresco-
baldl and Byrd and his added con
demnation OF tho feeble imitation of
military Instruments Ike trumpet and
drum on the violin and harpsichord; he
might properly have rebuked Beethoven
for his pleco OF claptrap. dignihed by tho
name Of symphony. entitled 'Wellngtons
Victory, or the Battle OF NlttorIa." and
pointed to what we are disposed TO set
New-York tribune., 1912-06-09

amples Of the same kind equal In beauty
simplicity and directness to those In Han
del's Messiah"
The delneation Of movement. as TINS
writer has said elsewhere Csee How 10
Listen TO Music'D. is easier TO tho musician
than it is to the poet Handel, who has
conveyed the sensation Of darkness
which might be felt in a chorus OF MS
Israel in Egypt" by means which appear
solely TO the imagination quickened by emo
ton. has In the same work pictured tiIe
plague Of frogs with a frank nalvete Wi'ch
almost upsets our seriousness Of demeahoi
by suggesting the characteristic movement
OF the creatures in the instrumental accom-
naniucnt TO the arioso Their land brought
forth frogs" which begins thus:
New-York tribune., 1912-06-09

doomed forth their tribute. hiding tho great
ships I'm dense pail Of smoke. while the
waters Of Hampton Roads were Churncd to
foam from the many river craft. launches
yachts and torpedo boat destroycrs. II
looked 10 those here from New York as
though every conceivable craft that could
float was bound for Hampton Roads, and
the palatiaI Hotel Chamberln was taxed
to its fullest capacity to accommodate the
visitors.
Recent arrivals at tho Hotel Chamberlain
from New York include Mr.. and Mrs
John DUFF, Mr.. and Mrs. Charles y. Jacque,
Alfred l.. Jordan, Mr. and Mrs NJ. IT, Gra-
ham. W. A. Cookery. Mr.. and Mrs. Charles
A. Morse. T. \. Hutchison, John Dill. Rob
ert NJ. Berry, G. II. Weaver. NJ. s. Swan.
Is. j.. Swan. Mr. and Mrs. j. NJ. Meyer, II.
A. Won Wedell. Charles II. Smith. Mr.. and
Mrs. John s. Crump. Mr.. and Mrs. George
IS. Ncnablc, Mr. and Mrs. J. VI. Gordon.
William a. Mamison, VI. S. Walker, r. W.
Blakeslec, u. c. Hoyt Mr. and Mrs h. NJ
Grubb. j. Y. Dalbcck. G. -. Dalbeck, Mr..
and Mrs. Thomas Bell. Dr. Charles Scud
der, DR.. T. d. Sullivan, Mr.. and Mrs
Charles Gaylor. Mr. and Mrs. w. Martin
Johnson, Dr. II. H. Meyer,