Published by CHARLES SCRIBNER'S SONS
Franz Liszt.Illustrated. 12mo. (Postage extra)net, $2.00Promenades of an Impressionist.12mo.net, $1.50Egoists: A Book of Supermen.12mo,net, $1.50Iconoclasts: A Book of Dramatists.12mo,net, $1.50Overtones: A Book of Temperaments.12mo,net, $1.50Mezzotints in Modern Music.12mo,$1.50Chopin: The Man and His Music.With Portrait. 12mo,$2.00Visionaries.12mo,$1.50Melomaniacs.12mo,$1.50
PROMENADESof anIMPRESSIONIST
$1.50 net
Contents: Paul Cézanne—Rops the Etcher—Monticelli—Rodin—Eugene Carrière—Degas—Botticelli—Six Spaniards—Chardin—Black and White—Impressionism—A New Study of Watteau—Gauguin and Toulouse-Lautrec—Literature and Art—Museum Promenades.
Contents: Paul Cézanne—Rops the Etcher—Monticelli—Rodin—Eugene Carrière—Degas—Botticelli—Six Spaniards—Chardin—Black and White—Impressionism—A New Study of Watteau—Gauguin and Toulouse-Lautrec—Literature and Art—Museum Promenades.
"The vivacity of Mr. Huneker's style sometimes tends to conceal the judiciousness of his matter. His justly great reputation as a journalist critic most people would attribute to his salient phrase. To the present writer, the phrase goes for what it is worth—generally it is eloquent and interpretative, again merely decorative—what really counts is an experienced and unbiassed mind at ease with its material. The criticism that can pass from Goya, the tempestuous, that endless fount of facile enthusiasms, and do justice to the serene talent of Fortuny is certainly catholic. In fact, Mr. Huneker is an impressionist only in his aversion to the literary approach, and in a somewhat wilful lack of system. This, too, often seems less temperamental than a result of journalistic conditions, and of the dire need of being entertaining.
"We like best such sober essays as those which analyze for us the technical contributions of Cézanne and Rodin. Here, Mr. Huneker is a real interpreter, and here his long experience of men and ways in art counts for much. Charming, in the slighter vein, are such appreciations as the Monticelli, and Chardin. Seasoned readers of Mr. Huneker's earlier essays in musical and dramatic criticism will naturally turn to the fantastic titles in this book. Such border-line geniuses as Greco, Rops, Meryon, Gustave Moreau, John Martin, are treated with especial gusto. We should like to have an appreciation of Blake from this ardent searcher of fine eccentricities. In the main the book is devoted to artists who have come into prominence since 1870, the French naturally predominating, but such precursors of modern tendencies or influential spirits as Botticelli, Watteau, Piranesi are included. Eleven 'Museum promenades,' chiefly in the Low Countries and in Spain, are on the whole less interestingthan the individual appreciations—necessarily so, but this category embraces a capital sketch of Franz Hals at Haarlem, while the three Spanish studies on the Prado Museum, Velasquez, and Greco at Toledo, are quite of the best. From the Velasquez, we transcribe one of many fine passages:
"'His art is not correlated to the other arts. One does not dream of music or poetry or sculpture or drama in front of his pictures. One thinks of life and then of the beauty of the paint. Velasquez is never rhetorical, nor does he paint for the sake of making beautiful surfaces as often does Titian. His practice is not art for art as much as art for life. As a portraitist, Titian's is the only name to be coupled with that of Velasquez. He neither flattered his sitters, as did Van Dyck, nor mocked them like Goya. And consider the mediocrities, the dull, ugly, royal persons he was forced to paint! He has wrung the neck of banal eloquence, and his prose, sober, rich, noble, sonorous, rhythmic, is, to my taste, preferable to the exalted, versatile volubility and lofty poetic tumblings in the azure of any school of painting.'
"'His art is not correlated to the other arts. One does not dream of music or poetry or sculpture or drama in front of his pictures. One thinks of life and then of the beauty of the paint. Velasquez is never rhetorical, nor does he paint for the sake of making beautiful surfaces as often does Titian. His practice is not art for art as much as art for life. As a portraitist, Titian's is the only name to be coupled with that of Velasquez. He neither flattered his sitters, as did Van Dyck, nor mocked them like Goya. And consider the mediocrities, the dull, ugly, royal persons he was forced to paint! He has wrung the neck of banal eloquence, and his prose, sober, rich, noble, sonorous, rhythmic, is, to my taste, preferable to the exalted, versatile volubility and lofty poetic tumblings in the azure of any school of painting.'
"Here we see how winning Mr. Huneker's manner is and how insidious. Unless you immediately react against that apparently innocent word 'tumblings,' your faith in the grand style will begin to disintegrate. It is this very sense of walking among pitfalls that will make the book fascinating to a veteran reader. The young are advised to temper it with an infusion of Sir Joshua Reynolds's 'Discourses,'quantum sufficit."—Frank Jewett Mather, Jr., inNew York NationandEvening Post.
EGOISTS
A BOOK OF SUPERMENWith Portrait and Fac-simile Reproductions
12mo. $1.50 net;Postpaid$1.65
Contents: Stendhal—Baudelaire—Flaubert—Anatole France—Huysmans—Barrès—Hello—Blake—Nietzsche—Ibsen—Max Stirner.
Contents: Stendhal—Baudelaire—Flaubert—Anatole France—Huysmans—Barrès—Hello—Blake—Nietzsche—Ibsen—Max Stirner.
"The work of a man who knows his subject thoroughly and who writes frankly and unconventionally."—The Outlook.
"Stimulating, provocative of thought."—The Forum.
ICONOCLASTS:A Book of Dramatists
12mo. $1.50 net
Contents: Henrik Ibsen—August Strindberg—Henry Becque—Gerhart Hauptmann—Paul Hervieu—The Quintessence of Shaw—Maxim Gorky'sNachtasyl—Hermann Sudermann—Princess Mathilde's Play—Duse and D'Annunzio—Villiers de l'Isle Adam—Maurice Maeterlinck.
Contents: Henrik Ibsen—August Strindberg—Henry Becque—Gerhart Hauptmann—Paul Hervieu—The Quintessence of Shaw—Maxim Gorky'sNachtasyl—Hermann Sudermann—Princess Mathilde's Play—Duse and D'Annunzio—Villiers de l'Isle Adam—Maurice Maeterlinck.
"His style is a little jerky, but it is one of those rare styles in which we are led to expect some significance, if not wit, in every sentence."—G. K. Chesterton, inLondon Daily News.
"No other book in English has surveyed the whole field so comprehensively."—The Outlook.
"A capital book, lively, informing, suggestive."—London Times Saturday Review.
"Eye-opening and mind-clarifying is Mr. Huneker's criticism; ... no one having read that opening essay in this volume will lay it down until the final judgment upon Maurice Maeterlinck is reached."—Boston Transcript.
OVERTONES:A Book of Temperaments
WITH FRONTISPIECE PORTRAIT OF RICHARD STRAUSS
12mo. $1.25 net
Contents: Richard Strauss—Parsifal: A Mystical Melodrama—Literary Men who loved Music (Balzac, Turgenieff, Daudet, etc.)—The Eternal Feminine—The Beethoven of French Prose—Nietzsche the Rhapsodist—Anarchs of Art—After Wagner, What?—Verdi and Boito.
Contents: Richard Strauss—Parsifal: A Mystical Melodrama—Literary Men who loved Music (Balzac, Turgenieff, Daudet, etc.)—The Eternal Feminine—The Beethoven of French Prose—Nietzsche the Rhapsodist—Anarchs of Art—After Wagner, What?—Verdi and Boito.
"The whole book is highly refreshing with its breadth of knowledge, its catholicity of taste, and its inexhaustible energy."—Saturday Review, London.
"In some respects Mr. Huneker must be reckoned the most brilliant of all living writers on matters musical."—Academy, London.
"No modern musical critic has shown greater ingenuity in the attempt to correlate the literary and musical tendencies of the nineteenth century."—Spectator, London.
MEZZOTINTS IN MODERN MUSIC
BRAHMS, TSCHAÏKOWSKY, CHOPIN, RICHARD STRAUSS, LISZT AND WAGNER
12mo. $1.50
"Mr. Huneker is, in the best sense, a critic; he listens to the music and gives you his impressions as rapidly and in as few words as possible; or he sketches the composers in fine, broad, sweeping strokes with a magnificent disregard for unimportant details. And as Mr. Huneker is, as I have said, a powerful personality, a man of quick brain and an energetic imagination, a man of moods and temperament—a string that vibrates and sings in response to music—we get in these essays of his a distinctly original and very valuable contribution to the world's tiny musical literature."—J. F. Runciman, inLondon Saturday Review.
MELOMANIACS
12mo. $1.50.
Contents: The Lord's Prayer in B—A Son of Liszt—A Chopin of the Gutter—The Piper of Dreams—An Emotional Acrobat—Isolde's Mother—The Rim of Finer Issues—An Ibsen Girl—Tannhäuser's Choice—The Red-Headed Piano Player—Brynhild's Immolation—The Quest of the Elusive—An Involuntary Insurgent—Hunding's Wife—The Corridor of Time—Avatar—The Wegstaffes give a Musicale—The Iron Virgin—Dusk of the Gods—Siegfried's Death—Intermezzo—A Spinner of Silence—The Disenchanted Symphony—Music the Conqueror.
Contents: The Lord's Prayer in B—A Son of Liszt—A Chopin of the Gutter—The Piper of Dreams—An Emotional Acrobat—Isolde's Mother—The Rim of Finer Issues—An Ibsen Girl—Tannhäuser's Choice—The Red-Headed Piano Player—Brynhild's Immolation—The Quest of the Elusive—An Involuntary Insurgent—Hunding's Wife—The Corridor of Time—Avatar—The Wegstaffes give a Musicale—The Iron Virgin—Dusk of the Gods—Siegfried's Death—Intermezzo—A Spinner of Silence—The Disenchanted Symphony—Music the Conqueror.
"It would be difficult to sum up 'Melomaniacs' in a phrase. Never did a book, in my opinion at any rate, exhibit greater contrasts, not, perhaps, of strength and weakness, but of clearness and obscurity. It is inexplicably uneven, as if the writer were perpetually playing on the boundary line that divides sanity of thought from intellectual chaos. There is method in the madness, but it is a method of intangible ideas. Nevertheless, there is genius written over a large portion of it, and to a musician the wealth of musical imagination is a living spring of thought."—Harold E. Gorst, inLondon Saturday Review(Dec. 8, 1906).
VISIONARIES
12mo. $1.50 net
Contents: A Master of Cobwebs—The Eighth Deadly Sin—The Purse of Aholibah—Rebels of the Moon—The Spiral Road—A Mock Sun—Antichrist—The Eternal Duel—The Enchanted Yodler—The Third Kingdom—The Haunted Harpsichord—The Tragic Wall—A Sentimental Rebellion—Hall of the Missing Footsteps—The Cursory Light—An Iron Fan—The Woman Who Loved Chopin—The Tune of Time—Nada—Pan.
Contents: A Master of Cobwebs—The Eighth Deadly Sin—The Purse of Aholibah—Rebels of the Moon—The Spiral Road—A Mock Sun—Antichrist—The Eternal Duel—The Enchanted Yodler—The Third Kingdom—The Haunted Harpsichord—The Tragic Wall—A Sentimental Rebellion—Hall of the Missing Footsteps—The Cursory Light—An Iron Fan—The Woman Who Loved Chopin—The Tune of Time—Nada—Pan.
"The author's style is sometimes grotesque in its desire both to startle and to find true expression. He has not followed those great novelists who write French a child may read and understand. He calls the moon 'a spiritual gray wafer'; it faints in 'a red wind'; 'truth beats at the bars of a man's bosom'; the sun is 'a sulphur-colored cymbal'; a man moves with 'the jaunty grace of a young elephant.' But even these oddities are significant and to be placed high above the slipshod sequences of words that have done duty till they are as meaningless as the imprint on a worn-out coin.
"Besides, in nearly every story the reader is arrested by the idea, and only a little troubled now and then by an over-elaborate style. If most of us are sane, the ideas cherished by these visionaries are insane; but the imagination of the author so illuminates them that we follow wondering and spellbound. In 'The Spiral Road' and in some of the other stories both fantasy and narrative may be compared with Hawthorne in his most unearthly moods. The younger man has read his Nietzsche and has cast off his heritage of simple morals. Hawthorne's Puritanism finds no echo in these modern souls, all sceptical, wavering and unblessed. But Hawthorne's splendor of vision and his power of sympathy with a tormented mind do live again in the best of Mr. Huneker's stories."—London Academy(Feb. 3, 1906).
CHOPIN:The Man and His Music
WITH ETCHED PORTRAIT
12mo. $2.00
"No pianist, amateur or professional, can rise from the perusal of his pages without a deeper appreciation of the new forms of beauty which Chopin has added, like so many species of orchids, to the musical flora of the nineteenth century."—The Nation.
"I think it not too much to predict that Mr. Huneker's estimate of Chopin and his works is destined to be the permanent one. He gives the reader the cream of the cream of all noteworthy previous commentators, besides much that is wholly his own. He speaks at once with modesty and authority, always with personal charm."—Boston Transcript.
CHARLES SCRIBNER'S SONS, NEW YORK
Transcriber's NotesThe illustrations (and captions in the text version) have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate. Thus the page number of an illustration might not match the page number in the List of Illustrations, and the order of illustrations may not be the same in the List of Illustrations and in the book.An advertisement listing books available from the author has been moved from the front of the book to the end, where it precedes full advertisements for the books; a heading thus duplicated ("BOOKS BY JAMES HUNEKER") has been removed.The text contains many inconsistencies in spelling and hyphenation, which have been left unchanged. In particular, Liszt's works are referred to inconsistently by their titles in various languages, and names of keys are inconsistently hyphenated (e.g. "A-flat" and "A flat").Words in other languages were sometimes printed without their diacritics, e.g. "Fraulein" for "Fräulein", and "czardas" for "czárdás". On page 13, "Dobrjan" appears to have been printed with a diaeresis on the "j"; this has been omitted, while the two other spellings used ("Dobrjàn" and "Dobrjan") have been retained.Other inconsistencies include:Suiss and SwissMedæival and mediævalGraner Messe and Graner-messePréludes and PreludesTschaikowski and TschaikowskyBelvédère and BelvedereBerçeuse and Berceused'exécution and d'executionDébats and DebatsFräuleins and FrauleinsKöhler and KohlerMéditations and MeditationsMüllerlieder and Mullerliederleitmotive and LeitmotivePrückner and PrucknerRákóczy and RakoczyZürich and ZurichMickelangelo and MichelangeloNadine Hellbig and Nadine HelbigMunkácsy is spelled as Munkacsy, Munkaczy, Munkaçzy, Munkacszy, and Munkàcsyany one and anyonebenefit concerts and benefit-concertsboat-hand and boathandCzerny and Czerniconcert room and concert-roomd' Este and d'EsteDanziger Rosebault and Danziger-Rosebaulte 'l and e'lErl King and Erl-Kingever ready and ever-readyevery one and everyoneFest-klänge and FestklängeFeux-follets and Feux folletsfor ever and foreverhalf dozen and half-dozeniron gray and iron-graykey-note and keynoteMaria-Pawlowna, Maria Pawlowna, and Maria PaulownaMerian-Genast and Merian Genastmusic loving and music-lovingoctave playing and octave-playingopera house and opera-housepiano concerto and piano-concertoPiano-Forte, Piano Forte, and pianofortepiano player and piano-playerpiano playing and piano-playingpiano recital and piano-recitalpiano teacher and piano-teacherpianoforte playing and pianoforte-playingprogramme music and programme-musicpuzta and putztaquasi-sonata and quasi sonataRamann and Ramagnrewritten and re-writtenRivé-King and Rivé Kingthree quarters and three-quarterswell known and well-knownwhat ever and whateverwood-wind and woodwindwriting table and writing-tableInconsistent punctuation in the sentence beginning "Masterpieces, besides those already" on p. 153 has been retained.Some apparent errors have been retained:p. 17 extra comma ("Paganini, had set")p. 34 extra comma ("a man who, accomplished")p. 58 mis-spelling ("Hoffgartnerei")p. 83 extra comma ("Gregory XIV, had opened")p. 111 mis-spelling ("Bestandig")p. 123 extra comma ("the god, believing in his own")p. 144 mis-spelling ("Gotterdämmerung")p. 204 mis-spelling ("infinitively")p. 309 mis-spelling ("troup")p. 341 full stop instead of comma ("much for fame. I bitterly")Obvious errors in spelling and punctuation have been corrected as follows:p. 27, comma changed to full stop (winds and murmurs.")p. 74 "though" changed to "through" ("through his pupils continued")p. 74 comma added to text ("whose fiery passions, indomitable energy")p. 89, quotation mark added to text (outside of Italy":)p. 98, "Madamoiselle" changed to "Mademoiselle" (Mademoiselle Cognetti)p. 108, quotation mark removed from text ("same school.")p. 149, "pentinent" changed to "penitent"p. 152, "philsophical" changed to "philosophical"p. 169, quotation mark removed from text ("a spirited march.")p. 174, quotation mark removed from text ("wonders by black art.'")p. 177, full stop changed to comma ("dispensed with,")p. 199, "talent as a violonist" changed to "talent as a violinist"p. 205, single quotation mark added to text ("'Freischütz,'")p. 209, "Bailot's" changed to "Baillot's"p. 212, "Liszt's and Berlioz intimacy" changed to "Liszt's and Berlioz's intimacy"p. 214, "Listz was playing" changed to "Liszt was playing"p. 219, "ooms:" changed to "rooms:"p. 236, "genuis" changed to "genius"p. 299, double quotation mark changed to single quotation mark ("grace, and beauty.'")p. 299, "genuis" changed to "genius"p. 302, double quotation mark changed to single quotation mark ("'as a concertante wit")p. 351, full stop changed to comma ("he loved Germany,")p. 356, comma added to text ("Adolf Blassmann,")p. 358, full stop changed to comma ("Johannes Zschocher,")p. 359, comma changed to full stop (""Second Tausig."")p. 372, quotation mark added to text (""Friedheim is of medium height")p. 422, "à la main gouche" changed to "à la main gauche"p. 424, full stop changed to comma ("no other in the world,")p. 441, "When" changed to "when" (when Breitkopf and Härtel finish)p. 447, closing brackets added to text ("(Princess Nadine Schakovskoy)"p. 447, "Hohenlohe-Schillingsfurst" changed to "Hohenlohe-Schillingsfürst"p. 447, semi-colon changed to full stop ("Museum (Budapest), 338.")p. 451, full stop changed to semi-colon ("Piano arrangements, 86;")p. 451, comma added to text ("to the Grave, 132;")p. 452, comma added to text ("Sofie (pupil), 24, 42,")p. 453, comma added to text ("Paderewski, 16, 17, 418, 419,")p. 455, "Niebelungen" changed to "Nibelungen"p. 455, comma added to text ("Rosenthal, Moriz (pupil)")p. 457, "Veldi" changed to "Velde"p. 457, comma added to text ("Tristan and Isolde (Wagner),")(Unnumbered advertisement) quotation mark added to text (""Here we see how winning")
The illustrations (and captions in the text version) have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate. Thus the page number of an illustration might not match the page number in the List of Illustrations, and the order of illustrations may not be the same in the List of Illustrations and in the book.
An advertisement listing books available from the author has been moved from the front of the book to the end, where it precedes full advertisements for the books; a heading thus duplicated ("BOOKS BY JAMES HUNEKER") has been removed.
The text contains many inconsistencies in spelling and hyphenation, which have been left unchanged. In particular, Liszt's works are referred to inconsistently by their titles in various languages, and names of keys are inconsistently hyphenated (e.g. "A-flat" and "A flat").
Words in other languages were sometimes printed without their diacritics, e.g. "Fraulein" for "Fräulein", and "czardas" for "czárdás". On page 13, "Dobrjan" appears to have been printed with a diaeresis on the "j"; this has been omitted, while the two other spellings used ("Dobrjàn" and "Dobrjan") have been retained.
Other inconsistencies include:
Inconsistent punctuation in the sentence beginning "Masterpieces, besides those already" on p. 153 has been retained.
Some apparent errors have been retained:
Obvious errors in spelling and punctuation have been corrected as follows: