So much for "Old Fogy" and the musical books. They constitute, not only the best body of work that Huneker himself has done, but the best body of musical criticism that any American has done. Musical criticism, in our great Calvinist republic, confines itself almost entirely to transient reviewing, and even when it gets between covers, it keeps its trivial quality. Consider, for example, the published work of Henry Edward Krehbiel, for long the doyen of the New York critics. I pick up his latest book, "A Second Book of Operas," open it at random, and find this:
On January 31, 1893, the Philadelphia singers, aided by the New York Symphony Society, gave a performance of the opera, under the auspices of the Young Men's Hebrew Association, for the benefit of its charities, at the Carnegie Music Hall, New York. Mr. Walter Damrosch was to have conducted, but was detained in Washington by the funeral of Mr. Blaine, and Mr. Hinrichs took his place.
O Doctor admirabilis, acutus et illuminatissimus! Needless to say the universities have not overlooked this geyser of buttermilk: he is an honourary A.M. of Yale. His most respectable volume, that on negro folksong, impresses one principally by its incompleteness. It may be praised as a sketch, but surely not as a book. The trouble with Krehbiel, of course, is that he mistakes a newspaper morgue for Parnassus. He has all of the third-rate German's capacity for unearthing facts, but he doesn't know how either to think or to write, and so his criticism is mere pretence and pishposh. W. J. Henderson, of the Sun, doesn't carry that handicap. He is as full of learning as Krehbiel, as his books on singing and on the early Italian opera show, but he also wields a slippery and intriguing pen, and he could be hugely entertaining if he would. Instead, he devotes himself to manufacturing primers for the newly intellectual. I can find little of the charm of his Sun articles in his books. Lawrence Gilman? A sound musician but one who of late years has often neglected music for the other arts. Philip H. Goepp? His three volumes on the symphonic repertoire leave twice as much to be said as they say. Carl Van Vechten? A very promising novice, but not yet at full growth. Philip Hale? His gigantic annotations scarcely belong to criticism at all; they are musical talmudism. Beside, they are buried in the program books of the Boston Symphony Orchestra, and might as well be inscribed on the temple walls of Baalbec. As for Upton and other such fellows, they are merely musical chautauquans, and their tedious commentaries have little more value than the literary criticisms in the religious weeklies. One of them, a Harvard maestro, has published a book on the orchestra in which, on separate pages, the reader is solemnly presented with pictures of first and second violins!
It seems to me that Huneker stands on a higher level than any of these industrious gentlemen, and that his writings on music are of much more value, despite his divided allegiance among the beaux arts. Whatever may be said against him, it must at least be admitted that he knows Chopin, and that he has written the best volumes upon the tuberculous Pole in English. Vladimir de Pachmann, that king of all Chopin players, once bore characteristic testimony to the fact—I think it was in London. The program was heavy with the études and ballades, and Huneker sat in the front row of fanatics. After a storm of applause de Pachmann rose from the piano stool, levelled a bony claw at Huneker, and pronounced his dictum: "He knows more than all of you." Joseffy seems to have had the same opinion, for he sought the aid of his old pupil in preparing his new edition of Chopin, the first volume of which is all he lived to see in print.... And, beyond all the others, Huneker disdains writing for the kindergarten. There is no stooping in his discourse; he frankly addresses himself to an audience that has gone through the forms, and so he avoids the tediousness of the A B C expositors. He is the only American musical critic, save Van Vechten, who thus assumes invariably that a musical audience exists, and the only one who constantly measures up to its probable interests, supposing it to be there. Such a book as "Old Fogy," for all its buffoonery, is conceivable only as the work of a sound musician. Its background is one of the utmost sophistication; in the midst of its wildest extravagances there is always a profound knowledge of music on tap, and a profound love of it to boot. Here, perhaps, more than anywhere else, Huneker's delight in the things he deals with is obvious. It is not a seminary that he keeps, but a sort of club of tone enthusiasts, and membership in it is infinitely charming.