atter
thinks--How the newspaper can work for good--Must the Critic be a
Musician?--Pedants and Rhapsodists--Demonstrable facts in
criticism--The folly and viciousness of foolish rhapsody--The Rev. Mr.
Haweis cited--Ernst's violin--Intelligent rhapsody approved--Dr. John
Brown on Beethoven--The Critic's duty. _Page 297_

* * * * *

PLATES

I. VIOLIN--(CLIFFORD SCHMIDT).--II. VIOLONCELLO--(VICTOR
HERBERT).--III. PICCOLO FLUTE--(C. KURTH, JUN.).--IV. OBOE--(JOSEPH
ELLER).--V. ENGLISH HORN--(JOSEPH ELLER).--VI. BASSOON (FEDOR
BERNHARDI).--VII. CLARINET--(HENRY KAISER).--VIII. BASS
CLARINET--(HENRY KAISER).--IX. FRENCH HORN--(CARL PIEPER).--X.
TROMBONE--(J. PFEIFFENSCHNEIDER).--XI. BASS TUBA--(ANTON
REITER).--XII. THE CONDUCTOR'S SCORE. _Page 325_

INDEX _Page 351_

How to Listen to Music

I

_Introduction_

[Sidenote: _The book's appeal._]

This book has a purpose, which is as simple as it is plain; and an
unpretentious scope. It does not aim to edify either the musical
professor or the musical scholar. It comes into the presence of the
musical student with all becoming modesty. Its business is with those
who love music and present themselves for its gracious ministrations
in Concert-Room and Opera House, but have not studied it as professors
and scholars are supposed to study. It is not for the careless unless
they be willing to inquire whether it might not be well to yield the
common conception of entertainment in favor of the higher enjoyment
which springs from serious contemplation of beautiful things; but if
they are willing so to inquire, they shall be accounted the class
that the author is most anxious to reach. The reasons which prompted
its writing and the laying out of its plan will presently appear. For
the frankness of his disclosure the author might be willing to
apologize were his reverence for music less and his consideration for
popular affectations more; but because he is convinced that a love for
music carries with it that which, so it be but awakened, shall
speedily grow into an honest desire to know more about the beloved
object, he is willing to seem unamiable to the amateur while arguing
the need of even so mild a stimulant as his book, and ingenuous,
mayhap even childish, to the professional musician while trying to
point a way in which better appre