Nature in Music: And Other Studies in the Tone-Poetry of Today 1914
(Originally published in 1914. This volume from the Cornel...)
Originally published in 1914. This volume from the Cornell University Library's print collections was scanned on an APT BookScan and converted to JPG 2000 format by Kirtas Technologies. All titles scanned cover to cover and pages may include marks notations and other marginalia present in the original volume.
(Book is without dust jacket. All orders ship from Pacific...)
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(Unlike some other reproductions of classic texts (1) We h...)
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(Since that day when, a quarter of a century ago, Richard ...)
Since that day when, a quarter of a century ago, Richard Wagner ceased to be a dynamic figure in the life of the world, the history of operatic art has been, save for a few conspicuous exceptions, a barren and unprofitable page; and it has been so, in a considerable degree, because of him. When Mr. William F. Apthorp, in his admirable history of the opera—a book written with unflagging gusto and vividness—observed that Wagner's style has been, since his death, little imitated, he made an astonishing assertion. "If by Wagner's influence," he went on, "is meant the influence of his individuality, it may fairly be said to have been null. In this respect Wagner has had no more followers than Mozart or Beethoven; he has founded no school." Again one must exclaim: An astonishing affirmation! and it is not the first time that it has been made, nor will it be the last. Yet how it can have seemed a reasonable thing to say is one of the insoluble mysteries. The influence of Wagner—the influence of his individuality as well as of his principles—upon the musical art of the past twenty-five years has been simply incalculable. It has tinged, when it has not dyed and saturated, every phase and form of creative music, from the opera to the sonata and string quartet.
(This book, "The music of to-morrow, and other studies", b...)
This book, "The music of to-morrow, and other studies", by Gilman, Lawrence, 1878-1939, is a replication of a book originally published before 1907. It has been restored by human beings, page by page, so that you may enjoy it in a form as close to the original as possible. This book was created using print-on-demand technology. Thank you for supporting classic literature.
Lawrence Gilman was an American author and music critic.
Background
Gilman was born on July 5, 1878 in Flushing, New York, the oldest in a family of three sons of Arthur Coit and Bessie (Lawrence) Gilman. His father, a tea and coffee broker, was of New England stock, a nephew of Daniel Coit Gilman, the first president of the Johns Hopkins University. His mother's family had long lived in Bayside, New York.
Education
Young Gilman attended public schools in New York City, then spent two years (1893-1895) at the Collins Street Classical School in Hartford, Connecticut Choosing to study art instead of going to Yale, he was a pupil of William M. Chase in the summer of 1895 and attended the Art Students' League in New York for that year's fall term.
Career
From 1896 to 1898 Gilman was a staff illustrator for the New York Herald. But Gilman's interest in music, always strong, soon became uppermost. He gained acquaintance with the music of Debussy, then virtually unknown in America, and became a close friend and admirer of Edward A. MacDowell. Throughout his critical career he was to retain an interest in new music. Gilman had already written occasional music reviews for other journals when, in 1901, he became music critic for Harper's Weekly. His duties, however, soon broadened, as he became assistant editor (1903-1911), then managing editor (1911-1913). After two years on the editorial staff of Harper's Magazine (1913-1915), he joined the North American Review, with which he remained for eight years as music, drama, and literary critic. Once again his editorial ability led to additional responsibilities. Becoming closely associated with Col. George Harvey, the editor of the Review, Gilman wrote a number of editorials and acted as editor during Harvey's absence as ambassador to Great Britain. In April 1923 Gilman succeeded Henry E. Krehbiel as music critic of the New York Tribune (which next year became the Herald Tribune). He had long been highly regarded in the critical field because of his magazine articles and books, but he now became known to a wider public. He had become program annotator for the New (later National) Symphony Orchestra when it was formed in 1919, and he continued in this capacity for the New York Philharmonic (later Philharmonic-Symphony) Society after its amalgamation with the National Symphony in 1921. He also wrote the notes for the concerts of the Philadelphia Orchestra and, from 1933 to 1936, was commentator for the Philharmonic-Symphony Sunday broadcasts. His work for the Tribune and his program notes were his principal occupations for the rest of his life. Gilman's knowledge of music was supplemented by a wide literary and historical background, the more remarkable in view of his limited formal schooling. He had an exact appreciation of the value of every word, but beneath the flow, grace, and poetic nature of his style lay thorough research and scrupulous accuracy. He liked best to write of great music and great musical performances, such as those of Arturo Toscanini and Kirsten Flagstad, and on such occasions the enthusiasm of his writing was unusually infectious. But he could be vigorous in attack when necessary. More often he expressed disapproval with telling subtlety, deftly exposing a fallacy or deflating a pretense. He did some composing, but a severe spirit of self-criticism limited his output. His only published works were three songs on texts by William Butler Yeats: "A Dream of Death" and "The Heart of the Woman" (1903) and "The Curlew" (1904). He once wrote and scored a full-length opera but, feeling that it was too strongly influenced by Wagner, never brought it to light. His death, which occurred at his summer home in Franconia, New Hampshire, was caused by the last of several severe heart attacks. He was buried in Elmwood Cemetery near Franconia.
Although in his later days Gilman was associated with no religious denomination, he was spiritually minded, and his deep interest in Eastern philosophies was often apparent in his writing.
Personality
Gilman was tall and dark haired. His face and expression showed the sensitiveness which characterized his writing and also the sense of humor which enlivened it. With this sensitiveness, and a touch of shyness, there went an essential courtliness of manner. Even as a boy Gilman had never enjoyed robust health owing to chronic asthma. This affected his heart and finally led to coronary thrombosis.
Connections
Gilman was survived by his wife, Elizabeth Wright Walter, whom he had married on August 1, 1904, and their only child, Elizabeth.