Chopin: The Man and His Music, James Huneker [free e books to read online txt] 📗

> 

Les Musiciens Polonais, par Albert Sowinski. Paris, Le Clerc.

 

Les Trois Romans de Frederic Chopin, par le Comte Wodinski.

Paris, Calman Levy.

 

Une Contemporaine, par M. Brault.

 

Histoire de ma Vie et Correspondance, par George Sand. Paris, Calman Levy.

 

George Sand, by Henry James in French Poets and Novelists. New York, Macmillan Co.

 

G. Sand, par Stefane-Pol, from Trois Grandes Figures, preface by D’Armand Silvestre. Paris, Ernest Flammarian.

 

George Sand, sa Vie et ses OEuvres, par Wladimir Kardnine.

Paris, Ollendorf.

 

Deux Eleves de Chopin, par Adolphe Brisson.

 

The Beautiful in Music, by Dr. Eduard Hanslick. Translated by Gustave Cohen. Novello, Ewer & Co., London and New York.

 

How Music Developed, by W. J. Henderson. New York, Frederick A. Stokes Co.

 

Wagner and His Works, by Henry T. Finck. New York, Charles Scribner’s Sons.

 

By the Way, by William F. Apthorp. Boston, Copeland & Day.

 

A Study of Wagner, by Ernest Newman. New York, G. P. Putnam’s Sons.

 

Folk-Music Studies, by H. E. Krehbiel. New York Tribune, August, 1899.

 

Analytical Notes to Schlesinger Edition, by Theodor Kullak.

 

The New Spirit, by Havelock Ellis. London, Walter Scott, Ltd.

 

Flaubert, par Emile Faguet. Paris, Hachette et Cie.

 

Reisebilder, by Heinrich Heine.

 

Affirmations, by Havelock Ellis. London, Walter Scott.

 

The Psychology of the Emotions, by Th. Ribot. New York, Charles Scribner’s Sons.

 

The Man of Genius, by Cesare Lombroso. New York, Charles Scribner’s Sons.

 

The Musical Courier, New York. Files from 1889 to 1900.

 

Chopin’s Works, by Rutland Boughton, in London Musical Standard.

 

Chopin, by Stanislas Count Tarnowski. Translated from the Polish by Natalie Janotha. 1899.

 

The School of Giorgione, An Essay by Walter Pater.

 

Chopin and the Sick Men, by John F. Runciman, in London Saturday Review, September 9, 1899.

 

Frederick Chopin, by Edward Dannreuther from Famous Composers and their Works. Boston, J. B. Millet Company.

 

Primitive Music, by Wallaschek.

 

Zur Psychologie des Individuums, Chopin und Nietzsche, by Stanislaw Przybyszewski. Berlin, W. Fontaine & Co., 1892.

 

Musical Interpretation, by Adolph Carpe. Leipzig, London and Paris, Bosworth & Co., Boston, B. F. Wood Music Co.

 

Pianistes Celebres, par Francois Marmontel.

 

Frederyka Chopina, in Echo Musicale, Warsaw, Poland, October 15, 1899.

 

OEuvres Poetiques Completes de Adam Mickiewicz, Traduction du Polonais par Christien Ostrowski. Paris, Firmin Didot Freres, Fils et Cie, 1859.

 

The World as Will and Idea, by Arthur Schopenhauer.

 

The Case of Richard Wagner, by Friedrich Nietzsche. New York, Macmillan Co.

 

With the Immortals, by Marion Crawford. References to Chopin.

 

Preface to Isidor Philipp’s Exercises Quotidiens tires des OEuvres de Chopin, by Georges Mathias. Paris, J. Hamelle.

 

Pianoforte Study, by Alexander McArthur.

 

Chopin Ein Gedenkblatt, by August Spanuth, New York Staats-Zeitung, October 15, 1899.

 

The Pianoforte Sonata, by J. B. Shedlock, London, Methuen &

Co.

 

A History of Pianoforte Playing and Pianoforte Literature, by C. F. Weitzmann, translated by Dr. Th. Baker. New York, G.

Schirmer.

 

Der Letze Virtuoso, by C. F. Weitzmann. Leipzig, Kahnt.

 

Chopin—and Some Others, in London Musical News, October 14, 1899.

 

Chopin, in A History of the Pianoforte and Pianoforte Players, by Oscar Bie. New York, E. P. Dutton & Co.

 

Chopin, in Rubinstein’s Die Meister des Klaviers. New York, Schuberth.

 

Chopin, in Berliner Tageblatt, by Dr. Leopold Schmidt.

 

Chopin Juzgada por Schumann, in Gaceta Musical, City of Mexico.

 

The Chopin Rubato and so-called Chopin Fingering, by John Kautz, in The Musical Record, Boston, 1898.

 

Franz Liszt, by Lina Ramann. Breitkopf & Hartel.

 

Preface to Mikuli Edition by Carl Mikuli.

 

The AEsthetics of Pianoforte Playing, by Adolf Kullak. New York, G. Schirmer.

 

Chopin und die Frauen, by Eugen Isolani. Berliner Courier, October 17, 1899.

 

Chopin, by W. J. Henderson in The New York Times, October 29, 1899.

 

A Note on Chopin, by L. A. Corbeille, and Chopin, An Irresponsibility, by “Israfel,” in The Dome, October, 1899, London, Unicorn Press.

 

Chopin and the Romantics, by John F. Runciman in The Saturday Review (London), February 10,1900.

 

Chopiniana: in the February, 1900, issue of the London Monthly Musical Record, including some new letters of Chopin’s.

 

La maladie de Chopin (d’apres des documents inedits), par Cabanes. Chronique medicale, Paris, 1899, vi., No. 21, 673-685.

 

Also recollections in letters and diaries of Moscheles, Hiller, Mendelssohn, Berlioz, Henselt, Schumann, Rubinstein, Mathias, Legouve, Tarnowski, Grenier and others.

 

The author begs to acknowledge the kind suggestions and assistance of Rafael Joseffy, Vladimir de Pachmann, Moriz Rosenthal, Jaraslow de Zielinski, Edwin W. Morse, Edward E.

Ziegler and Ignace Jan Paderewski.

BOOKS BY JAMES HUNEKER

What Maeterlinck wrote:

 

Maurice Maeterlinck wrote thus of James Huneker: “Do you know that ‘Iconoclasts’ is the only book of high and universal critical worth that we have had for years—to be precise, since Georg Brandes. It is at once strong and fine, supple and firm, indulgent and sure.”

 

The Evening Post of June 10, 1915, wrote of Mr. Huneker’s “The New Cosmopolis”:

 

“The region of Bohemia, Mr. James Huneker found long ago, is within us. At twenty, he says, he discovered that there is no such enchanted spot as the Latin Quarter, but that every generation sets back the mythical land into the golden age of the Commune, or of 1848, or the days of ‘Hernani.’ It is the same with New York’s East Side, ‘the fabulous East Side,’ as Mr. Huneker calls it in his collection of international urban studies, ‘The New Cosmopolis.’ If one judged externals by grime, by poverty, by sanded back-rooms, with long-haired visionaries assailing the social order, then the East Side of the early eighties has gone down before the mad rush of settlement workers, impertinent reformers, sociological cranks, self-advertising politicians, billionaire socialists, and the reporters. To-day the sentimental traveller ‘feels a heart-pang to see the order, the cleanliness, the wide streets, the playgrounds, the big boulevards, the absence of indigence that have spoiled the most interesting part of New York City.’ But apparently this is only a first impression; for Mr. Huneker had no trouble in discovering in one cafe a patriarchal figure quite of the type beloved of the local-color hunters of twenty years ago, a prophet, though speaking a modern language and concerned with things of the day. So that we owe to Mr. Huneker the discovery of a notable truth, namely, that Bohemia is not only a creation of the sentimental memory, but, being psychological, may be located in clean and prosperous quarters. The tendency has always been to place it in a golden age, but a tattered and unswept age. Bohemia is now shown to exist amidst model tenements and sanitary drinking-cups.”

 

IVORY APES AND PEACOCKS With frontispiece portrait of Dostoievsky 12mo.

$1.50 net

 

NEW COSMOPOLIS 12mo. $1.50 net

 

THE PATHOS of DISTANCE A Book of a Thousand and One Moments 12mo. $2.00

net

 

PROMENADES of an IMPRESSIONIST 12mo. $1.50 net “We like best such sober essays as those which analyze for us the technical contributions of Cezanne 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 lighter vein, are such appreciations as the Monticelli, and Chardin.”

 

—FRANK JEWETT MATHER, JR., in New York Nation and Evening Post.

 

EGOISTS A Book of Supermen STENDHAL, BAUDELAIRE, FLAUBERT, ANATOLE

FRANCE, HUYSMANS, BARRES, HELLO, BLAKE, NIETZSCHE, IBSEN, AND MAX

STIRNER With Portrait and Facsimile Reproductions 12mo. $1.50 net 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’s Nachtasyl—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, in London Daily News.

 

OVERTONES: A Book of Temperaments WITH FRONTISPIECE PORTRAIT Of RICHARD

STRAUSS 12mo. $1.50 net

 

“In some respects Mr. Huneker must be reckoned the most brilliant of all living writers on matters musical.”

 

—Academy, London.

 

MEZZOTINTS IN MODERN MUSIC BRAHMS, TSCHAIKOWSKY, CHOPIN. RICHARD

STRAUSS, LISZT, AND WAGNER 12mo. $1.50 net “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. … A distinctly original and very valuable contribution to the world’s tiny musical literature.”

 

—J. F. RUNCIMAN, in London Saturday Review.

 

FRANZ LISZT WITH NUMEROUS ILLUSTRATIONS 12mo. $2.00 net CHOPIN: The Man and His Music WITH ETCHED PORTRAIT 12mo. $2.00 net VISIONARIES 12 mo. $1.50 net

 

CONTENTS: A Master of Cobwebs—The Eighth Deadly Sin—The Puree 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.

 

“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).

 

MELOMANIACS 12mo. $1.50 net

 

“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.”

 

—HAROLD E. GORST, in London Saturday Review.

 

End of Project Gutenberg’s Chopin: The Man and His Music, by James Huneker *** END OF THIS PROJECT GUTENBERG EBOOK CHOPIN: THE MAN AND HIS MUSIC ***

 

***** This file should be named 4939.txt or 4939.zip *****

This and all associated files of various formats will be found in: http://www.gutenberg.org/4/9/3/4939/

 

Produced by John Mamoun <mamounjo@umdnj.edu> with help from Charles Franks and the Online Distributed Proofreaders website.

 

Updated editions will replace the previous one—the old editions will be renamed.

 

Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away—you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution.

 

*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

 

To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg-tm License (available with this file or online at http://gutenberg.net/license).

 

Section 1. General Terms of Use and