Scan 27
Musical Courier 1898-06-15: Vol 36 Iss 954, 1898
77 lines. Read by computer on 21 September 2026. Printed page 26. See the scan on archive.org.
1"What Is Good Music?"
2Editor The Musical Courier:
3I HAVE looked for a discriminating review of Mr. Henderson's "What is Good Music?" and looked in vain. Mr. Hale's complimentary paragraphs in the Musical Record can hardly be called a review, while Mr. Mathews in Music does not get at the real subject-matter of the book.
5The purpose of the book, as explained, is to enable one to determine what constitutes good music and its proper interpretation, and it seems to me that, with certain reservations, it is one of the most valuable books the music student can read. The author is a man of culture and experience, and writes in a way that attracts and convinces. One is rarely at loss to know his exact meaning and his purpose is unquestionably the highest. It is a book which will be largely read and will, let us fervently hope, push from many libraries such sickly sentiment as that contained in volumes like "Music and Morals" or "Charles Auchester."
7If I make criticism of certain passages I should not be accused of trying to detract from the merit of the volume as a whole, for I shall certainly ask every student who comes my way to read the book, but I shall just as surely wish to point out what seems to me are the dangers in accepting all its conclusions. Let me make a few interrogations.
9Does not Mr. Henderson dogmatize too much on debatable matter? Nothing could be more attractively promising than the "prelude." "Surely," the reader will say, "here at last is something which settles the perplexing question, 'What is good music?'"
11In the beginning we are told that a person may "cultivate a discriminating taste in music, may acquire the fundamental knowledge in a few short months." On page 15 we read that the person ought "first of all to be acquainted with musical form and the history of music." Does not a knowledge of "form" presuppose an intimate acquaintance with all the keys, with modulation and the tonal relation of keys; in other words, with harmony? Can all this, with a knowledge of the history of music, be acquired in a few months?
13Would many musicians agree with Mr. Henderson's statement that "an intelligent estimate of the value of a fugal composition may be made by any person who knows the general principles of polyphony?" And does he really mean that in a "few months" an average listener may disentangle the different parts of a fugue, so that he may "identify subject and watch for answer; note whether it is direct or inverted—augmented or diminished—and at the same time hear the counter-subject and bear it in mind—follow the interweaving of these melodic parts and endeavor to decide whether or not it shows ingenuity or baldness, plasticity or stiffness, power and fecundity or unsuccessful effort and barrenness?" All that in a few months! Will not the "average listener" be disappointed if he hopes to do all that?
15On page 39 the author states: "Contrapuntal writing is the most learned kind of composition, because every measure must be made in obedience to fixed laws. The polyphonic period began with the discovery of these laws." Would it not be nearer the truth to say that these laws were one result of the repeated experiments of composers? Theory does not legislate; it only chronicles.
17Would the majority of musicians agree that in this school one looks in vain for the note of "dramatic passion?" Is there no true "dramatic passion" in the B minor mass or the Passion music?
19Do not many eminent critics disagree with the author's statement that the subject-matter of a symphony or sonata should be repeated?
21It seems to me that all that is written regarding the sonata-form from pp. 46 to 72 inclusive is the clearest, sanest, most comprehensive summing up of the subject that we have in our language. It was high time someone called a halt to the senseless cry of "no form" in modern music, and showed us, as Mr. Henderson has done, that Tchaikowsky's "Pathetic" Symphony, for example, is just as much in form as is Mozart and that the form is just as logical and as natural.
23Mr. Henderson writes: "Wagner's music dramas are the finest exponents of the true method of writing opera." Has the author won the right to speak so finally upon a subject concerning which others of equal rank disagree—Hanslick, of Vienna; Woolf, of Boston, and certain English critics, for example? There is a great deal said regarding the organic unity of a composition and of the several movements of a work. "If you were to hear the scherzo of Beethoven's Seventh Symphony played in the Fifth, instead of that which belongs there, you would detect the inorganic condition at once." "It could not have been other than it is." Is not this debatable? When the "Pathetic" was first played here most of the critics said the third movement was out of place. The second year Mr. Hale wrote something like this: "When I first heard the work that battle march seemed out of place; now it seems inevitable. That wild revelry must precede the final lamentation." At another time Mr. Hale wrote at length regarding the advisability of playing certain movements of symphonies at one concert and of omitting others. He went so far as to suggest the combination of movements of different symphonies. I regret that I cannot find the issue of The Musical Courier in which this appeared. At another time he wrote: "Why should all the movements be played as though in obedience to some municipal law? At the first performance, yes. The composer has a right to ask this. If, for example, the finale of the Haydn quartet had been omitted the music and the performance would have been an unmixed delight."
25When we come to Part 2 Mr. Henderson dogmatizes with an obstinacy that becomes aggressive. His insistence creates a doubt. He repeatedly uses the expression, "this is not a matter of opinion, but a matter of fact," and yet will not nine out of ten thinking persons disagree with him? The questions upon which he dogmatizes most are matters of opinion—of ideal—of personal taste—of idiosyncrasy, and the author may not decide them for anybody save for himself. When he generalizes nothing could be safer, but upon special subjects one wishes the opinion of a specialist.
27On page 129 he says that there should be but one opinion regarding the technical performance of a musical composition. This is equivalent to saying that Messrs. Finck, Hale, Woolf, Apthorp and others should all agree with Mr. Henderson. Do they agree? And later, "the critic who is acquainted with the technics of the art can pronounce judgment with absolute certainty." Then which of the critics is acquainted with the technics of his art?
29If, as Mr. Henderson says on page 120, the recognition of the excellence of a musical idea is not a matter of education, but "belongs to the intuitions of the mind," may it not logically be said that the interpretation of that idea is also a matter of instinct and not of education? That Mr. Henderson is one man voicing his isolated opinion regarding debatable matter?
31On page 13 we had read: "The loftiness of their thought (essential qualities in musical substance) commands an immediate recognition from the cultured mind. No practiced listener to music is often at a loss to decide whether a theme is dignified or trivial. The power to recognize the elevation of a fine musical thought comes from continued musical high thinking. There is no other way to discern the excellence of a musical idea." So, then, it is not a matter of instinct? Either it is or it isn't. Is all this a matter of opinion or a matter of fact? And if of fact, who shall determine the fact? Shall Runciman or Blackburn? Hanslick or Henderson? Finck or Woolf?
33I asked a teacher of violin his opinion of this book. He was enthusiastic over the matter as a whole, but concluded by saying: "Of course, I don't think it much of a guide as to what is really good or bad in violin playing; with the exception of this one chapter the book is admirable."
35A vocal teacher said: "It is a book I shall wish all my pupils to read. Of course, the chapter on solo singing is open to criticism, and I should wish to talk with any pupil immediately after he had read it." I have no doubt the teacher of piano and the orchestral conductor would each make reservations regarding his specialties.
37Finally—and this is the main point—will not the student do well to lay down this most fascinating volume with the conclusion, not that he has a complete system by which to measure the worth of music and its correct performance, but that he has a fair idea of what so cultured a man as Mr. Henderson thinks about it? We now know his opinions regarding Beethoven, Wagner and the music-dramas, the classic and the romantic schools, Paderewski, the de Reszkés, Lehmann, Patti and others. Coming from one of Mr. Henderson's position and experience all this is interesting and valuable, but it is not best to keep in mind the fact that, after all, it is only the opinion of one man? And notwithstanding the final way Mr. Henderson has of settling questions, may not others do as he does—settle these matters for themselves?
39HOMER A. NORRIS.
41Louise Gerard in Opera in Europe.
42Miss Louise Gerard, the young American singer, who has been studying in Paris and Milan, will make her début this spring as Marguerite in "Faust" with the Royal Italian opera in Venice.
44Van Yorx in Oratorio.
45Again Van Yorx touches a high mark of excellence in his late interpretations of oratorio solos, and again the press enlarges upon that excellence in numerous notices of which a few are reprinted below:
47Mr. Van Yorx did fine work in the "Requiem." His voice is of excellent quality.—New Haven Morning News.
49Mr. Van Yorx has a dramatic tenor voice, clear and rich, full and mellow, which was heard with excellent effect.—New Haven Palladium.
51The club was extremely fortunate in its assistants. The soloists were specially adapted to the work.
52Mr. Van Yorx sustained the most difficult role in "The Creation." He acquitted himself delightfully at all times, but in the solo, "In Native Worth," he won unstinted commendation.—Englewood Press, May 21, 1898.
54J. Henry McKinley.
55The versatility of Mr. McKinley's work is equaled by the versatility of the local reporter in finding new ways to give the same story of appreciation. A few evidences below, selected from a large number, show that the appreciation is not stunted:
57"Cujus Animam" was sung with great sweetness and grandeur by Mr. McKinley. His voice has a strong, manly quality and is of unusual range. Mr. McKinley came from New York in the evening, and had no rehearsal, but he could not have done better if he had sung with them from the start.—Bridgeport Daily Union.
59It was a bit of good fortune to secure Mr. McKinley, who had been singing in festival with the Boston Symphony Orchestra. Possessing a splendid voice, he is perfectly familiar with the work. It was superbly sung.—New Haven Register. May 22, 1898.
61The tenor Mr. McKinley was at home in the solos that fell to him in the "Dream of Jubal," his singing of the "Sickle Song" placing him at once in touch with the entire assembly. In the "Swan and Skylark" he sang his way into the very souls of his auditors by his grace and felicity of expression. His conception of the music was poetical.—Evening Wisconsin.
63In the aria "In Native Worth" he sang with such delicacy of sentiment and with such character and color that the audience burst out in applause that was as spontaneous as it was appreciative and sincere.—Allentown Chronicle and News, May 25, 1898.
65OVIDE MUSIN,
66Professor-in-Chief of the Superior Class of Violin,
67Liege, Belgium, Royal Musical Conservatory.
68By contract with the Belgian Government Mr. Musin has, annually, six months' leave of absence, which he proposes to utilize by establishing in New York a
69Virtuoso School of Violin,
70based upon the Liége System.
71Celebrated exponents of that system are:
72WIENIAWSKI, VIEUXTEMPS, LEONARD, MAR-SICK, CÉSAR THOMSON, YSAYE, MUSIN.
73The Ovide Musin Virtuoso School of Violin,
74of New York, will be open throughout the year.
75Mr. Musin will occupy his official position at Liége from February to August 1, and in New York from August 1 to February 1.
76New York address: Steinway Hall.
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