Aspects of Modern Opera: Estimates and Inquiries

Transcriber's Note: Obvious printer errors have been corrected without note. Skipped page numbers are due to blank pages and repeated half-titles in the original.
AUTHOR OF “The Music of To-morrow,” “Phases of Modern Music,” “Stories of Symphonic Music,” “Edward MacDowell: A Study,” “Strauss’ ‘Salome’: A Guide to the Opera,” “Debussy’s ‘Pelléas et Mélisande’: A Guide to the Opera,” etc.
New York: JOHN LANE COMPANY London: JOHN LANE, THE BODLEY HEAD MCMIX
Copyright, 1908, John Lane Company
THE UNIVERSITY PRESS, CAMBRIDGE, U.S.A.
ERNEST NEWMAN
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BREADTH, WISDOM, AND INDEPENDENCE
THESE STUDIES
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Since that day when, a quarter of a century ago, Richard Wagner ceased to be a dynamic figure in the life of the world, the history of operatic art has been, save for a few conspicuous exceptions, a barren and unprofitable page; and it has been so, in a considerable degree, because of him. When Mr. William F. Apthorp, in his admirable history of the opera—a book written with unflagging gusto and vividness—observed that Wagner's style has been, since his death, little imitated, he made an astonishing assertion. If by Wagner's influence, he went on, is meant the influence of his individuality, it may fairly be said to have been null. In this respect Wagner has had no more followers than Mozart or Beethoven; he has founded no school. Again one must exclaim: An astonishing affirmation! and it is not the first time that it has been made, nor will it be the last. Yet how it can have seemed a reasonable thing to say is one of the insoluble mysteries. The influence of Wagner—the influence of his individuality as well as of his principles—upon the musical art of the past twenty-five years has been simply incalculable. It has tinged, when it has not dyed and saturated, every phase and form of creative music, from the opera to the sonata and string quartet.