"The Music of To-morrow," "Phases of Modern Music," "Stories of Symphonic Music," "Edward MacDowell: A Study," "Strauss' 'Salome': A Guide to the Opera," "Debussy's 'Pelléas et Mélisande': A Guide to the Opera," etc. Since that day when, a quarter of a century ago, Richard Wagner ceased to be a dynamic figure in the life of the world, the history of operatic art has been, save for a few conspicuous exceptions, a barren and unprofitable page; and it has been so, in a considerable degree, because of him. When Mr. William F. Apthorp, in his admirable history of the opera--a book written with unflagging gusto and vividness--observed that Wagner's style has been, since his death, little imitated…
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