New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-08-13

The musician or music lover who has
a serious bent of mind will find 1t pos
sible to sit down to very pleasant
and profitable two hours companion
ship with "The Musical Quarterly" for
July, of which o. G. Sonneck is editor
and G.. Schirmer publisher. George
Whitfield Andrews, of Obcrlin, dis
courses in the beginning on music
and religion, and when Mr.. W. j. Hen
derson, music critic of "The New YORK
Sum-" presents historical study OF
ford passages in music, and discrim-
inatingly justifes some Of them IN
early opera, he finds early examples IN
the liturgical song of the Church.
Edwin Hughes writes about the contrl-
button to the technic Of pianoforte
playing made by the late Rafael Josefy,
which he finds to be large and valua-
bic. Henry F. Gilbert, Of Cambridge
Mass, conducts an inquiry into the
question of why some compositions
live while others, written with equal
correctness and an equal expenditure
of intelligence, die either out of hand
or shortly after their creation. HIS
answer summed up in phrase that
the difference lies in the spiritual con-
tents of the works: "ln a word, that
which makes music live is not so mucn
its art quality as its heart quality
And this element of true emotional ex-
pressiveness, he tells us, is the vital
fluid of folksong.
Mr.. Gilbert is not the idle propounder
Of a theory, but an active practiser OF
the doctrine which he breaches. he
has poured the essence of folksong (of
Afro-American folksong specificalIy)
into some of his compositions for or
chestra. He has a fellow, so far as the
general proposition is concerned, IN Mr..
Percy Granger, who is the subject OF
an article in 1.-The Quarterly" written
by Mr.. Cyril Scott, of London. of MI
SCOTS article it may be said in IAN
guage which he would have US believe
that Mr.. Granger admires that II
"coes the whole hog" in proclaiming
the qualities Of its subject as man and
musician. In his opinion, Mr.. Granger
whose splendid qualities everybody
seems glad to admit, is a paragon a
nonpareil, a flower and a nonesuch IN
a score of ways. He is young her
cules who strangled the serpent Har-
monte Law in his cradle. He wrote IN
the whole-tone scale before ne kne"
that n Debussy existed. He is not only
a Siamese twin-brother Of Rudyard
Kipling, but the bond between the two
Is so strong that when Granger sets
words by Kipling to music he ceases 70
be Granger and becomes Kipllng. he
is an iconoclast who at seventeen years
of age conceived great scheme Tor
reyolutionizing the laws OF rhythm
He is a composer who set aside the
law of evolution as represented oy
such men as Beethoven and wagner,
but was already peculiar (if not grand
and gloomy from childhood, so that at
an age when Wagner was writing Ell
fusively like Meyerbeer" ne was al
ready writing like himself. He did not
get his folksong idioms from Grieg, but
influenced Grieg in his prediction
for folksong idioms. Psychology
ically this amiable young man
as a soul-type is "a Northerner,
saturated with the influence OF
previous northern incarnation" Mr..
Granger delights in the exhibition OF
physical force, as is illustrated by the
fact that Mr.. Scott once saw him ex-
hibit childlike glee as he watched
thee men strain themselves and sweat
while lifting a pianoforte around
troublesome corner on a phenomenally
hot day. He has not only the spirit
Of the Vikings of old but Of the ath-
leticism of to-day, which accounts for
the fact that he labels a string quartet
a "string foursome" He unblushingly
likes vulgarity, and this is why there