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James Huneker observed that "it easily ranks with any modern work in this form. Dramatic in feeling, moulded largely, and its themes musically eloquent, it sounds a model of its kind the kind which Johannes Brahms gave the world over thirty years ago in his D-minor concerto."

On this occasion the always quoteworthy mezzotintist, James Huneker, wrote: "The nephew of a very remarkable composer, for Carl Goldmark outranks to-day all the Griegs, Massenets, Mascagnis, Saint-Saëns, and Dvôráks you can gather, he needs must fear the presence in his scores of the avuncular apparition. His 'Hiawatha' overture was played by Mr.

Huneker calls it in his collection of international urban studies, 'The New Cosmopolis. If one judged externals by grime, by poverty, by sanded back-rooms, with long-haired visionaries assailing the social order, then the East Side of the early eighties has gone down before the mad rush of settlement workers, impertinent reformers, sociological cranks, self-advertising politicians, billionaire socialists, and the reporters.

Huneker had no trouble in discovering in one café a patriarchal figure quite of the type beloved of the local-color hunters of twenty years ago, a prophet, though speaking a modern language and concerned with things of the day. So that we owe to Mr.

Indeed, your inventive power supplied not only your own compositions with material, but those of your son-in-law, Richard Wagner, as well. As James Huneker once so brightly put it, "Wagner was indebted to you for much besides money, sympathy, and a wife."

Poor genius! he must even have a woman sing his swan-song for him! Potocka is best known by a familiar portrait that you will find in a thousand homes. But how the higher criticism undermines the gospel of tradition! The truth is that Chopin denied ever having been in love with her or she with him, and Huneker even claims that the famous portrait of her is not of her at all.

What Maeterlinck wrote: Maurice Maeterlinck wrote thus of James Huneker: "Do you know that 'Iconoclasts' is the only book of high and universal critical worth that we have had for years to be precise, since Georg Brandes. It is at once strong and fine, supple and firm, indulgent and sure." The Evening Post of June 10, 1915, wrote of Mr. Huneker's "The New Cosmopolis": "The region of Bohemia, Mr.

James Huneker, the raconteur of the Musical Courier, discussing the compositions of Chopin, in his delightful and inspiring book, "Chopin, the Man and His Music," calls the studies Titanic experiments; the preludes, moods in miniature; the nocturnes, night and its melancholy mysteries; the ballades, faery dramas; the polonaises, heroic hymns of battle; the valses and mazurkas, dances of the soul; the scherzos, the work of Chopin the conqueror.

It may best be summed up in the words of James Huneker, who is one of the few writers who has kept his sanity on the subject of Chopin: "He never saw his Gladkovska again, for he did not return to Warsaw. The lady was married in 1832 preferring a solid merchant to nebulous genius to Joseph Grabovski, a merchant at Warsaw.

James Huneker calls it, between man and his environment, is nowhere more effectively insisted upon by Maeterlinck than in Pelléas et Mélisande. It has rained. And over there, do you see the old gardener trying to lift that tree that the wind has blown down across the road? He cannot; the tree is too big ... too heavy; ... it will lie where it fell." How many there are! They fear the dark!