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THENEWYORK
PUBLIC LIBRARY
48 PAGES.
ASTOH, L8NOX A N *
FUUNOATWM*
t
With which is Incorporated THE KEYNOTE.
VOL. XXVI.
No. i
Published Every Saturday at 3 East Fourteenth Street. New York, January l, 1898.
HERRICK'S LOVE OF HUSIC.
Few poets better appreciated music than
Herrick. It would have been difficult to
imagine him dull to its influence, although
some of our poets have been credited with
inability to distinguish one tune from
another. But on the other hand, there are
many musical poets—Milton, Gray,
Browning, and a host of others. Speaking
of Milton, reminds us that Herrick address-
es one of his poems to Harry Lawes, who
was the subject of one of Milton's sonnets.
Lawes wrote the music to '' omus," and re.
ceived from the po°.i. the praise that he
OEO. F. LYON.
Geo. F. Lyon, one of the most prominent
members of the New York Press Club,
received a testimonial from his fellow
members on Dec. 15, in the shape cf a
handsome open chest, containing 187
pieces of silver. To Mr. Lyon's indefati-
gable work much of the success of that
newspaper organization is due. The pres-
entation night marked his twenty-fifth
anniversary in newspaper work, and the
clubhouse was thronged with his friends
who gathered to do him honor. A superb
Frs.t taught our English music how to span
Words with just note and accent, not so scan
With Midas's ears, committing short and long.
Both Herrick and Milton seem to have
been on-familiar terms with the musician,
as both address him in their verse as
Harry. Some of Herrick's songs were set
to music by him, and on his death Herrick
wrote:
o
MUSIC AND EHOTION.
1
1
Dr. Hugh A. Clarke, Professor of Theory
and Composition at the Broad Street Con-
servatory of Music, delivered a lecture at
that institution in their concert hall at No.
1331 South Broad street, Philadelphia, on
Wednesday evening, December 22. Sub-
ject :—"The Power of Music to Express
Emotion."
The comparative system adopted in the
last lecture was resumed in this one. The
power for definite expression of the vari-
ous arts was compared, also the means by
which this expression is secured.
Music was created with a deeper power
for expression than the sister arts because
it makes its appeal directly to the primi-
tive source of all emotion, usually joy and
sorrow or pleasure and pain, without the
intervention of any symbol. A power so
mysterious in its origin and operation that
no satisfactory attempt has been made to
explain it, not excepting Gurney's ingen-
ious one that " music is ideal motion."
sic. Southern music is not African music;
on the other hand it has been altogether
modified by surroundings. It is an Ameri-
can growth, no matter what the seed may
have been. I think that some day some
composer will arise to follow Dvorak's
lead and give the Southern plantation mu-
sic its real classical setting. I have spoken
with James Lane Allen and John Fox, Jr.,
on this matter, and I believe that musi-
cians should do for American music what
these men are doing for Southern types and
customs.
I have made a very large collection of
Southern plantation music, but I consider
the Scotch folk music the sweetest and
most varied natural music of the world. I
think plantation music equally a folk
school. As an evidence of what is thought
of it, I can say that the Germans are very
much interested in it when they hear any
of it.—Louis C. Elson.
0
Some have thee called Amphion, some of us
Named thee Terpander, or sweet Orpheus;
Some this, some that; but all in this agree,
Music had both her birth and death in thee.
The difference 'between Milton's praise
and Herrick's is very marked. The greater
poet's more considered eulogy was well de-
served and discriminately bestowed; Her-
rick's is spoiled by its extravagance.
SINGLE COPIES, 10 CENTS.
GEO F. LYON.
By courtesy of the Fourth Estate.
THE NEXT CH1CKERINO CONCERT.
Chickering & Sons' next grand orchestral
concert (Anton Seidl, conductor) will take
place Tuesday afternoon, January 4th, at
three o'clock. Xaver Scharwenka will be
the soloist, and the following program,
which by the way is an unusually excellent
one, will be interpreted.
1.
Overture, " In der Natur,'
Dvorak.
for Piano and Orchestra, Op. 3« (B
musical entertainment was provided. 2. Concerto,
flat minor)
Xaver Scharwenka.
Chevalier De Vries, Lionel Kremer, Mme. Allegro patetico and Adagio, Scherzo (Allegro
vivace), Allegro passionato.
Rhodes-Argilagos, Miss Mabel Denman 3. For Stringed
Orchestra;
a. Air
Bach.
and many other musical celebrities were
0. Minuet from " Don Juan,"
Mozart.
present and assisted to make the evening
c. Nocturne from " L'Arlesienne,". . Bizet.
a most enjoyable one. The presentation
d. Slow Waltz from "Serenade,"Volkmann.
Ricordanza,
Liszt.
speech was made by John A. Hennessy. 4. Piano Solo: Xaver
Scharwenka.
Mr. Lyon responded in a very charming 5. From " Die Meistersinger,"
Wagner.
III Act, Choral, Dance of the Apprentices-
manner. Taken altogether the affair was a (Prelude to the
Procession of the Masters, Finale.)
notable one in the annals of newspaperdom.
0
o
"Some Tendencies of Modern Opera"
DISTINCTIVE AflERlCAN MUSIC.
is discussed by Reginald De Koven in the
I have studied much in American music current issue of Scribner's, in the course
and composers, and I am a firm believer of which he asks the following questions:
that American music is only Southern mu- "Are not the operatic composers of the
sic. I have often said that the reason day imitators almost to the extent of pla-
"Dixie" is the most characteristic outcome giarism? Are we not, indeed, getting
of the war is because you can't set a calico 'Wagnerism,' Wagner at second hand
factory or a flour mill to music, but that usque ad nauseam ? Are there not two
Southern plantation life is characteristicand perils, stagnation and reaction, which lie
poetic, and therefore has its own music.
in wait for us? and does it not appear more
The Indian music is not distinctive than probable that between the two opera
American music—that is to say, it bears a is likely to come to a considerable amount
kinship to a great deal of other savage mu- of grief?"