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Old Fogy: His Musical Opinions and Grotesques by James Huneker Pdf
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MY friend the publisher has asked me to tell you what I know about Old Fogy, whose letters aroused much curiosity and comment when they appeared from time to time in the columns of "The Etude." I confess I do this rather unwillingly. When I attempted to assemble my memories of the eccentric and irascible musician I found that, despite his enormous volubility and surface frankness, the old gentleman seldom allowed us more than a peep at his personality. His was the expansive temperament, or, to employ a modern phrase, the dynamic temperament. Antiquated as were his modes of thought, he would bewilder you with an excursion into latter-day literature, and like a rift of light in a fogbank you then caught a gleam of an entirely different mentality. One day I found him reading a book by the French writer Huysmans, dealing with new art. And he confessed to me that he admired Hauptmann's "Hannele," though he despised the same dramatist's Weavers. The truth is that no human being is made all of a piece; we are, mentally at least, more of a mosaic than we believe.Let me hasten to negative the report that I was ever a pupil of Old Fogy. To be sure, I did play for him once a paraphrase of "The Maiden's Prayer" (in double tenths by Dogowsky), but he laughed so heartily that I feared apoplexy, and soon stopped. The man really existed. There are a score of persons alive in Philadelphia today who still remember him and could call him by his name-formerly an impossible Hungarian one, with two or three syllables lopped off at the end, and for family reasons not divulged here. He assented that he was a fellow-pupil of Liszt's under the beneficent, iron rule of Carl Czerny. But he never looked his age. Seemingly seventy, a very vital threescore-and-ten, by the way, he was as light on his feet as were his fingers on the keyboard. A linguist, speaking without a trace of foreign accent three or four tongues, he was equally fluent in all. Once launched in an argument there was no stopping him. Nor was he an agreeable opponent. Torrents and cataracts of words poured from his mouth.He pretended to hate modern music, but, as you will note after reading his opinions, collected for the first time in this volume, he very often contradicts himself. He abused Bach, then used the "Well-tempered Clavichord as a weapon of offense wherewith to pound Liszt and the "Lisztianer." He attacked Wagner and Wagnerism with inappeasable fury, but I suspect that he was secretly much impressed by several of the music-dramas, particularly "Die Meistersinger." As for his severe criticism of metropolitan orchestras, that may be set down to provincial narrowness; certainly, he was unfair to the Philharmonic Society. Therefore, I don't set much store on his harsh judgments of Tchaikovsky, Richard Strauss, and other composers. He insisted on the superiority of Chopin's piano music above all others; nevertheless he devoted more time to Hummel, and I can personally vouch that he adored the slightly banal compositions of the worthy Dussek. It is quite true that he named his little villa on the Wissahickon Creek after Dussek....
Old Fogy: His Musical Opinions and Grotesques by James Huneker Pdf
This work contains Criticism of classical music composed and performed a hundred years ago. James Gibbons Huneker (1857 – 1921) was an American art, book, music, and theater critic who aimed to enlighten Americans about the most remarkable cultural accomplishments, native and European, of his time.
Excerpt from Old Fogy: His Musical Opinions and Grotesques My friend the publisher has asked me to tell you what I know about Old Fogy, whose letters aroused much curiosity and comment when they appeared from time to time in the columns of The Etude. I confess I do this rather unwillingly. When I attempted to assemble my memories of the eccentric and irascible musician I found that, despite his enormous volubility and surface-frankness, the old gentleman seldom allowed us more than a peep at his personality. His was the expansive temperament, or, to employ a modem phrase, the dynamic temperament. Antiquated as were his modes of thought, he would bewilder you with an excursion into latter-day literature, and like a rift of light in a fogbank you then caught a gleam of an entirely different mentality. One day I found him reading a book by the French writer Huysmans, dealing with new art. And he confessed to me that he admired Hauptmann's Hannele, though he despised the same dramatist's Weavers. The truth is that no human being is made all of a piece; we are, mentally at least, more of a mosaic than we believe. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
In January 1933, widowed Canadian psychiatrist Charles Flemming traveled to Rome to deliver a paper at an international psychiatric meeting and to further research the career of the eccentric Ukranian pianist, Vladimir de Pachmann, for a biography he has always wanted to write. En route, he learns of a young, virtually blind Polish pianist, Agnieszka Lipska, who will be giving several recitals in Rome. She has familial retinitis pigmentosa and her specialty is the music of Chopin. Charles and Agnieszka are introduced by Simon Williams, a music critic assigned to review the recitals. Her beauty and talent enraptures the heart of the lonely doctor and a romance develops. Shortly after arriving in Rome, Charles discovers that a manuscript containing aspects of de Pachmann’s life has been stolen from his hotel. This along with other complications, including a near-drowning in the Tiber River, ultimately involves the scrutiny of Mussolini’s fascist police. At her final recital, Agnieszka resists the restrictions of the government by playing the Polish National Anthem as an encore disguised as an anonymous Polish mazurka. However, a music critic recognizes the piece and the lovers are forced to flee Rome with the help of the Polish ambassador. They travel to Kraków, where Charles meets Agnieszka’s family. Before leaving there is concern over Agnieszka’s abdominal pain, which appears to require gynecologic surgery. On his ship back to Canada, Charles opens and reads a disturbing letter written by Agnieszka’s mother about her daughter’s past – a suppressed memory. The truth is revealed later on his return to Toronto. Written for a mature audience with interests in music, history and mystery, Mourning de Pachmann investigates the subtleties of love, guilt and forgiveness, ambition and ego, as well as the rewards of a personal adventure of a lonely, middle-aged man and a younger woman. In this historical novel the reader will learn much about the career of the real-life de Pachmann, who still mystifies musicologists and critics; life in fascist Italy where it is illegal to sell condoms and dangerous to deny the wishes of Il Duce, Benito Mussolini; and Europe on the verge of another world war.
Two-and-a-half centuries after his death, the complex life of composer Johann Sebastian Bach continues to fascinate. Bach's colorful life was anchored in his belief that "music has been ordered by God's Spirit"?so much so that he began each composition by scrawling Jesu, juva (Jesus, help me) at the top of a blank page and concluded each with S.D.G. (short for Soli Deo Gloria, to God alone be the glory). Through the eyes of noted music and culture writer Rick Marschall, the intensely personal yet boldly public faith that earned Bach the nickname "The Fifth Evangelist" takes on fresh meaning. From a survey of Bach's family and its deep Christian roots to a behind-the-scenes look at how he crafted his masterpieces, this book paints a picture of an astonishing figure and his relationship with his God. Marschall brings Bach's enduring music and influence to the postmodern world and to all who would draw inspiration from his relentless pursuit of divinely ordained creativity.
