Chapters of Opera: Being Historical and Critical Observations and Records Concerning the Lyric Drama in New York from Its Earliest Days Down to the Present Time
(This book was originally published prior to 1923, and rep...)
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
(How to Listen to Music, by Henry Edward Krehbiel, is clas...)
How to Listen to Music, by Henry Edward Krehbiel, is classic music appreciation guide that provides "hints and suggestions to untaught lovers of the art."
A Second Book of Operas: Their Histories, Their Plots, and Their Music
(This is a pre-1923 historical reproduction that was curat...)
This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. This text refers to the Bibliobazaar edition.
Mozart: the man and the artist, as revealed in his own words
(This book was converted from its physical edition to the ...)
This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.
Afro-American Folksongs: A Study In Racial And National Music
(Published in 1914, this is a study in racial and national...)
Published in 1914, this is a study in racial and national music. Includes folk songs, religion, modal characteristics, music among Africans, variations from the major and minor scales, dances, songs of black creoles and more.
Beethoven, the Man and the Artist, as Revealed in His Own Words
(This book was converted from its physical edition to the ...)
This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.
Henry Edward Krehbiel was an American music critic, historian, author, and lecturer. He did much research work in Indian music, some of the results of which he presented at the congress of musicians during the World's Columbian Exposition at Chicago.
Background
Henry Edward Krehbiel was born on March 10, 1854 in Ann Arbor, Michigan, United States. He was the third of nine children born to Jacob and Anna Marie (Haacke) Krehbiel. The father was born in Wachenheim, Hesse-Darmstadt, Germany, but came to America when a very young child with his parents, who settled in Cleveland, Ohio. The mother was born in southern Germany and came to America at the age of seventeen. Jacob Krehbiel entered the German Methodist ministry as a young man and became a circuit rider through southern Michigan. For one year (1853 - 54) he lived in Ann Arbor and there Henry Edward was born. In 1864 the elder Krehbiel was sent to Cincinnati by the Central German Conference and his children attended the public schools of that city. As a boy Henry Edward displayed unusual musical talent. He had a few violin lessons and was able to lead the choir in his father's church, where he developed an interest in church music.
Education
Aside from his public-school training he was largely self-educated and he rose to a place of influence chiefly through his own efforts. He had no college training, but he was by instinct a student. For a time he studied law, but he soon dropped this for journalism.
Career
Krehbiel became a "star reporter, " with varied experiences with murder cases, baseball news, boatraces, and the like. In his leisure moments he devoted himself to the study of music and in time he became the music editor of the Gazette, which position he filled from 1874 to 1880.
Upon the invitation of Whitelaw Reid he went to New York to succeed the veteran music critic of the Tribune, John R. G. Hassard, who was not well and desired to be relieved, but was filled with uncertainty as to the young man's abilities. For a time Krehbiel did general work on the Tribune, as he had done in Cincinnati. Meantime he prepared himself more solidly in his chosen field, so that when Hassard's health made his retirement imperative, he took over the full duties of music critic, a position which he held for forty-three years. Though at heart a classicist, Krehbiel was the champion of Wagner and did much to awaken an appreciation not only for this master, but for all things new at that time. He had a warm appreciation for Brahms, whom he valiantly defended against the attacks of fellow critics. He was quick to recognize the merits of Dv001 k's "New World Symphony" at its first performance, of Tschaikovsky's Sixth Symphony, and indeed, his judgment as a critic was remarkably just and accurate, for he was open-minded and generous. The weakest link in his critic's armor was his strange dislike for Theodore Thomas, notwithstanding the conductor's contribution to American music life.
In addition to his familiarity with the whole literature of music he had a deep fondness for folk music, especially Negro folk tunes, and made a large collection of "Spirituals. " He held that since they emanated from one group in America, they were entitled to be classified as American folksongs, and, though not the product of the dominating race, they had qualities that appealed to any race.
(Published in 1914, this is a study in racial and national...)
Views
Krehbiel was a man of rare culture and possessed a remarkable memory which was of value to him in building historical backgrounds for his criticisms. He spoke German and English with equal fluency and acquired a reading knowledge of French, Italian, Russian, and Latin.
Connections
Krehbiel was twice married. His first wife, whom he married in Cincinnati in 1880, was Helen Osborne of Derby, Connecticut, an organist and writer. His second wife, whom he married in Brooklyn, New York, in 1896, and who survived him, was Marie Van of Cincinnati, a professional singer of American birth but of French parentage.