MUSICAL STUDIES
BY THE SAME AUTHOR
GLUCK AND THE OPERA
A STUDY OF WAGNER
WAGNER (THE MUSIC OF THE MASTERS)
ELGAR (THE MUSIC OF THE MASTERS)
RICHARD STRAUSS
HUGO WOLF
Etc.
MUSICAL STUDIES
By
ERNEST NEWMAN
LONDON: JOHN LANE, THE BODLEY HEAD
NEW YORK: JOHN LANE COMPANY
TORONTO: BELL & COCKBURN. MCMXIV
THIRD EDITION
Printed by Ballantyne, Hanson & Co.
at the Ballantyne Press, Edinburgh
PREFACE
TO THE FIRST EDITION (1905)
The greater part of the following matterhas already appeared in various periodicals—theFortnightly Review, the ContemporaryReview, the Speaker, theChord, the New York Musical Courier, theAtlantic Monthly, the Weekly Critical Review,the Monthly Musical Record, and the DailyMail. All have been greatly altered, however—somepractically rewritten. The larger articles—thoseon Programme Music, Strauss, and Berlioz—havebeen made up from sundry articles thatappeared at different times and in differentjournals; any one who has tried to weld heterogeneousmaterial of this kind into one mass willappreciate the difficulty of the work, and will, Itrust, make allowances for whatever awkwardnessof form the essays may show here and there.
I must apologise for the fact that occasionallyone essay touches slightly upon ground that hasalready been more fully treated in another. Itsometimes happens that two quite different lines[vi]of thought, starting from widely separated points,will converge and meet; or, on the other hand,that the one æsthetic principle will prove applicableto different phenomena. I am conscious ofthis occasional overlapping in the essays, butthere seemed no way of avoiding it; if an argumentwas to have its proper force it had to begiven in full, even if for a page or so it duplicatedwhat had already been said elsewhere.
My thanks are due to the Editors of thejournals I have named for their permission toreprint.
E. N.
PREFACE
TO THE SECOND EDITION
As this Second Edition is printed frommoulds, no alteration of or addition tothe text of the First Edition has beenpossible. I should have liked to expandone or two of the essays at various points andto revise them at others. There is always somethingnew to be said, for example, about programmemusic, while any article on a livingsubject, such as that on Strauss, is bound tocontain many things that are not so appositenow as when they were first written. But eventhese may have a value as pictures of a bygonestate of things; and in this way such matter asthat relating to the earlier attitude of the criticsand the public towards Strauss may be of somehistorical interest