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The Project Gutenberg EBook of Musical Portraits, by Paul Rosenfeld This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Musical Portraits Interpretations of Twenty Modern Composers Author: Paul Rosenfeld Release Date: October 16, 2006 [EBook #19557] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK MUSICAL PORTRAITS *** Produced by David Newman, Chuck Greif, Martin Pettit and the Online Distributed Proofreading Team at http://www.pgdp.net MUSICAL PORTRAITS INTERPRETATIONS OF TWENTY MODERN COMPOSERS BY PAUL ROSENFELD NEW YORK HARCOURT, BRACE AND HOWE 1920 COPYRIGHT, 1920, BY HARCOURT, BRACE AND HOWE, INC. THE QUINN & BODEN COMPANY RAHWAY, N. J. To ARTHUR MOORE WILLIAMSON _Some of the material of this book was originally printed in the form of articles in "The Dial," "The New Republic," and "The Seven Arts." Thanks are due the editors of these periodicals for permission to recast and reprint it._ CONTENTS WAGNER, 3 STRAUSS, 27 MOUSSORGSKY, 57 LISZT, 73 BERLIOZ, 87 FRANCK, 101 DEBUSSY, 119 RAVEL, 133 BORODIN, 149 RIMSKY-KORSAKOFF, 159 RACHMANINOFF, 169 SCRIABINE, 177 STRAWINSKY, 191 MAHLER, 205 REGER, 223 SCHOENBERG, 233 SIBELIUS, 245 LOEFFLER, 257 ORNSTEIN, 267 BLOCH, 281 APPENDIX, 299 MUSICAL PORTRAITS Wagner Wagner's music, more than any other, is the sign and symbol of the nineteenth century. The men to whom it was disclosed, and who first sought to refuse, and then accepted it, passionately, without reservations, found in it their truth. It came to their ears as the sound of their own voices. It was the common, the universal tongue. Not alone on Germany, not alone on Europe, but on every quarter of the globe that had developed coal-power civilization, the music of Wagner descended with the formative might of the perfect image. Men of every race and continent knew it to be of themselves as much as was their hereditary and racial music, and
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