Vibrates in the memory.
NOTE
Several of the foregoing essays have appeared in Scribner’s Magazine, the Musical Courier, Criterion, Harper’s Bazar, Metropolitan, New York Sun, and elsewhere. They have been greatly altered and amplified for republication. The study of Parsifal, the major part of which was first printed in the Musical Courier, has been rigorously revised and much enlarged. A few anecdotes of Richard Strauss must be credited to the London Musical Times.
Transcriber’s Notes
- pg 12 Changed: at the end its feverish esctasy
to: at the end its feverish ecstasy - pg 20 Changed: significance of the development from Hadyn
to: significance of the development from Haydn - pg 21 Changed: serious influence of the Brahms Schicksalied
to: serious influence of the Brahms Schicksalslied - pg 29 Changed: A critic considers O warst du mein
to: A critic considers O wärst du mein - pg 51 Changed: his juggling with bizzare rhythms
to: his juggling with bizarre rhythms - pg 68 Changed: Invocation and Parsifal, Hunnenschlact
to: Invocation and Parsifal, Hunnenschlacht - pg 97 Changed: Romantics for knights, mediæval myssteries
to: Romantics for knights, mediæval mysteries - pg 100 Changed: which so often gravitates pedulum-wise
to: which so often gravitates pendulum-wise - pg 117 Changed: Like the Buddhistic Tripatka
to: Like the Buddhistic Tripitaka - pg 178 Changed: at the foot of the Vierge au donitaire
to: at the foot of the Vierge au donataire - pg 191 Changed: he loves to finger the georgeous
to: he loves to finger the gorgeous - pg 217 Changed: social democrat and freethinker; and Tschaïkowsy
to: social democrat and freethinker; and Tschaïkowsky