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Richard Wagner : his life and his dramas : a biographical study of the man and an explanation of his work
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Preludes and Studies: Musical Themes of the Day (Classic Reprint)
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Excerpt from Preludes and Studies: Musical Themes of the Day
I. - Laying the Foundations. II. - Development of the Technique. Iii.-the Modern Concerto. IV. - Some Living Players.
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The Elements of Navigation: A Short and Complete Explanation of the Standard Methods of Finding the
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What is Good Music?: Suggestions to Persons Desiring to Cultivate a Taste in Musical Art. Third Edition
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(Originally published in 1912. This volume from the Cornel...)
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William James Henderson was an American music critic and scholar. He was a member of staff of New York Tribune, the New York Times, and also served as a music critic of the New York Sun.
Background
Henderson was born on December 4, 1855 in Newark, New Jersey, United States, of a theatrical family. His mother, Esther or Ettie (Lewis) Henderson, an actress and playwright who had come to the United States from England with her father, Henry Lewis, in 1837, represented the third generation of theatrical activity in her family. Henderson's father, William Henderson, was an actor and theatrical manager of Scotch-Irish descent.
Education
Young Henderson began his journalistic career while a high school student at the Freehold Institute, working as a reporter for the Monmouth Democrat in Freehold.
As an undergraduate at Princeton he spent summers reporting for the Long Branch Daily News. On his graduation, in 1876, he became a reporter for the New York Tribune.
Meanwhile he had studied piano (1868-1873) with Carl Langlotz of Trenton, New Jersey, the composer of the Princeton song "Old Nassau, " and, in 1876-1877, voice with Angelo Torriani. In music history and theory he was largely self-taught.
Career
Henderson left journalism briefly (1878-1880) to assist his father as manager of the Standard Theatre of New York, where they gave the first New York performance of Pinafore and some of the earliest American performances of other Gilbert and Sullivan works. They even gave a production of Hamlet, though they subsisted largely on lighter works, such as the farce Bigamy, of which Henderson's mother was coauthor.
In 1881 Henderson returned to the New York Tribune, and on January 3, 1883, he joined the staff of the New York Times. He began as a general assignment reporter but quickly developed two specialties: music and yachting. In 1887 he succeeded Frederick A. Schwab as music critic of the Times. He remained on the Times, save for an interim in 1896, until 1902, when he moved to the Sun, reportedly because of the much larger salary he was offered.
Henderson soon proved to be one of the ablest and most influential critics of the country, a position he maintained for the next fifty years--a period of high standards in American musical criticism. He and Henry T. Finck, Henry E. Krehbiel, James G. Huneker, and Richard Aldrich constituted the "big five" of New York musical criticism who dominated opinion in the country's most important music center from about 1880 to 1920. They were scholars as well as newspapermen and skilled writers. Among them Henderson stood out for his exacting standards, his lucid thought, and his terse, often brilliant style. He could be sharp in his criticism when he felt the occasion called for it, and he had a sometimes cutting wit.
Like his colleagues, Henderson held an exalted view of the critic's function. Yet he preferred to speak of himself as a newspaper reporter with a specialty--music. In this sense the most important news coverage of his career embraced the American premières of Wagner's Rheingold, Siegfried. Of the long list of historic premières that he reported in later years, including the masterpieces of Brahms, Richard Strauss, Tchaikovsky, Verdi, Puccini, Debussy, Bartók, and Stravinsky, none quite equaled for him his youthful impressions of Wagner.
But he could savor the performer's art as well. He had a notable flair for characterizing pianists in a few words, and he was renowned as a judge of vocal performance. Henderson wrote the libretto for Walter Damrosch's opera Cyrano de Bergerac, performed at the Metropolitan Opera House in 1913, and for several operettas. Besides his regular newspaper columns, many substantial magazine articles, and some nine books on music, he was the author of Pipes and Timbrels (1905), a volume of verse, and The Soul of a Tenor (1912), a psychological novel.
His deep interest in yachting and navigation led him to write Elements of Navigation (1895), a standard textbook in the field which went through three editions, the last in 1929, as well as several volumes of sea stories for boys.
Henderson remained active in music criticism up to the day of his death at the age of eighty-one. In his last year he was ill for some months. Depression over the impairment of his capacities was thought to have been the cause of his suicide by shooting in his New York apartment, only three days after the death of his friend and colleague Richard Aldrich. He was buried in Cypress Hills Abbey Mausoleum, Brooklyn.
For his literary work Henderson was honored in 1933 by election to the American Academy of Arts and Letters.
Personality
Henderson was erect of figure, with a lean face and quizzical smile.
Interests
Henderson had deep interest in yachting and navigation.
Music & Bands
In the 1880s Henderson did not scruple to call Wagner the greatest musical genius who ever lived.
Connections
Henderson was twice married: in 1880 to Ella Carter of Nashville, Tennessee, by whom he had two children, William H. and Florence V; and, after a divorce, in 1904 he married Julia F. Wall.