is a wholly praiseworthy enterprise, quite beyond commensurate acknowledgment, and certainly not to be dismissed by a shrug of the shoulders as some of our critics ill-disposed to renaissance concerts have tried to do.
About the Schütz Festival (commemorating the 300th anniversary of Heinrich Schütz's birth), which offered rich stimulation and rare pleasure to historian and musician alike, I must reserve a more detailed account for a future time.
Comic Opera by Anton Dvor̆ák
November 22, 1885
There may be those serious enough -- heaven help them! -- to find this opera comical, just as there are those comical enough -- God preserve them! -- to take Brahms's symphonies seriously. Your critic, in the interest of his health, would gladly have laughed. He had, indeed, reason enough to let the anesthetic merriment of all genuine comedy work its balm on his bronchitic chest. He confesses, however, that despite the most awesome dedication and lively attention to this work, there was not a moment when it touched that string in his ailing breast whose benevolent vibrations he so fervently wished to detect. Quite the contrary, there is in the narrative substance as well as in the music of this comic opera an amiable prompting to melancholy reverie. This fortunate circumstance may well have brought many an infatuated lieutenant and many an ardent maiden closer together in spirit, but that aside, let no one at the risk