The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-08-08
SOME NEW BOOKS.
Nature In Music.

those we have IL LAWRENCE GILMAN.
In his Nature IN Music (John Lane
Company. New York; his fine endow-
ment. his sensitive nature and wide
range of reading and perception are all
called into play. L.ike James Huneker
he has at command comparisons from
oil the arts and more especially is he
at home in English poetry of the great
tradition and in modern French poetry;
both forms Of literature which '
profoundly Influenced modern music.
However. that which chiefly adds value
TO Mr.. Gilman's criticism Is his n
tuitive understanding; an nborn sense
Of values which leans Upon no author
ity: which has no need to borrow the
ears Of others. Mr.. Gilman's intui-
tions. founded as they may or may
not be upon intellectual concepts. are
deeply rooted and reliable. With the
knowledge of Huneker. the balance OF
Arthur Farwell, he has a restraint and
q correctness Of perception which are
his own The only quarrel that can
be had with Lawrence Gilman IL that
his output IL small and his books APP
pear infrequently.
The volume Mature in Music" con-
tains nine occasional essays, Mature
IN Music Ional landscape, MUSIC
and the Sea-" death and the Musi-
clans" STRAUSS and the Greek KS THE
Question Of Opera in English" "A
Note on Montemezzi." THE Place OF
Grieg.' "a Musical C~osmopolite'
tCharles Martin Loefier). Some Of
these essays appeared first in the
norm American hetW".
IN tne nrst essay MT 'inhah ana
yves .ne porn nature ioVer as an ihol-
Viuuaist Oh ehno''ohai haoi'' uh.ran"'
meiieo imagination anu no"-co.iiorh-
ISL t~ehuencies' naVeioek Ellis, ne
sa!s' IN MS psycno'oss Oh '"e mature
ioVer pointed u tha' tnese were men
!" whom 'he real "oIiu o 'heiI
average Ieilow men seemed unreal ana
tney were conscious OF a paintul sense
Oh i~haueauacy 'o"aru III 'hey sought
ne" anu STRONGER s'i"iui,"'s, a ne"
neaven anu u ne" ehr'n. Inc con-
veh'ionai ana limited Auuisoh sa" IN
.he APPS only one Oh 'he most ir-
u misshapen scenes In the
world" and TWO hundred years later
SIr Leslie eph said OF wild scenery
,ne occult sense OF the una NE n
sociai iorms mouiued upon H.. Inc
strongest appeal OF natural beauty has
always oeen TO individuals OF emo
'onai haoit ana "ioe ranging imagi-
nation ana music IS. ever beyond the
c.her arts the ~nahuinald or the true
rover OF nature
MT HiiHian points out that there
nave oeeh since earliest tunes land
scapists IN music. In 1863 Don Marco
.ce,ihi a Forest symphony
vi ".iionie poscareccie fariier sun.
IN Ehsnshn,an' n John Mundy.
u rantasie IN winch he
uhoertook 10 portray "A Clear
"eather' the seventeenth and eigh-
'teh'n centuries contain n long success
sion OF Forest. symphonies, Spring"
symphonies n pastoral pieces. Even
Iiahdei contributed an Allegro. PEN
'o' anu Niouera'o win denotement
Strains. "ihos n Dire
no'e, WINE |iVa'oi IN his -Four
SEASONS oiscourses OF howerins
mea'o"s' rus'hns leaves &C. william
"a'a.e ue"'es inns kind OF tone
pai"'ins as an a'tefnpt 10 excite a
nien'aI image py means OF an audi
.o,s hn,piession' MT ''iiman care
,uny pet"een TWO run
a,ans inherent !pe or musical
inea. Inc one. which has no other
.asoh U peIns IMAM 10 embody an
.uea oI oeau'iiui utterance; the Other
- eAci'e a meh'al image either by
'o"ai '"'i,a'ion or more suhtly
-! .usses'ion. Inc hrst type IL FOUND
~ opening par ot Beethoven''
Nhoan'e IN the rlfth symphony. The
eeeo"u type recurs constantly in Wag
ners operas' io Illustrate the distinc'
VIA niish' he caileu an
r u. music anu illustrative music
eon'ras's hrahmss inter
'" :. major from opus Ito mum
-, WIZ" MacDo"eiis In Deel
oo !" u natter piece poth utl'
saperscrip''oh are deiiperately In
s'u.u W engage the imagination o
.ne NEARER anu tne music Is INTENDED
.'ps means OF suggestive analo
=" ,"'ieeh' anu in'ehsincatio
" images aroused ny the it'll
~" up'i'e'ip''oh whereas brahm
ns internhezAo dealt with eNclu
musical IDEAS MacDowel
~! eNe',S 'he iharticulate elo
1870 49, ". must 10 convey MS idea bu
S".H, ~ "'u VI t"e poets concret'
p's.e ART an" 'he painters pie
'',,ai iu"c''oh'
" MI StuutUIS OF modern arr NH