Library Of The World's Best Literature, Ancient And Modern, Vol. 2

Here are few paragraphs from the book:

to the storms of air and sea; and while the soul of Mozart seems to dwell on the ethereal peaks of Olympus, that of Beethoven climbs shuddering the storm-beaten sides of a Sinai. Blessed be they both! Each represents a moment of the ideal life, each does us good. Our love is due to both.

Self-interest is but the survival of the animal in us. Humanity only begins for man with self-surrender.
MAY 27TH, 1857.–Wagner’s is a powerful mind endowed with strong poetical sensitiveness. His work is even more poetical than musical. The suppression of the lyrical element, and therefore of melody, is with him a systematic parti pris. No more duos or trios; monologue and the aria are alike done away with. There remains only declamation, the recitative, and the choruses. In order to avoid the conventional in singing, Wagner falls into another convention,–that of not singing at all. He subordinates the voice to articulate speech, and for fear lest the muse should take flight he clips her wings; so that his works are rather symphonic dramas than operas. The voice is brought down to the rank of an instrument, put on a level with the violins, the hautboys, and the drums, and treated instrumentally. Man is deposed from his superior position, and the centre of gravity of the work passes into the baton of the conductor. It is music depersonalized,–neo-Hegelian music,–music multiple instead of individual. If this is so, it is indeed the music of the future,–the music of the socialist democracy replacing the art which is aristocratic, heroic, or subjective.