The sun. [volume] (New York [N.Y.]) 1833-1916, 1876-12-03

there ie thereon. A backs back, and no man
is 70 blame for having one, but 1t needn't be
held In the face OF patient audience during an
entire performance, need ~
1 Intended TO call the attention Of actors to
an old saw. l will any how. ALWAYS take II
for granted that the man you are talking to Ia as
smart as you are" So I would say to actors
Won't you kindly assume that u the people In
front are not necessarily fools2 II you gag they
know IL. when YOU guy a scene. they notice II.
box or stalls they detect t. Il" II You SUR 'S per-
Torrance, the people who have paid to see "
are cheated; on THANKSGIVING afternoon and
evening" a lady, high in tue profession, was at
TO play most important part IN a very pop:.l
piece. Tue houses were Dig. Tue people had
put thousands OF dollars In the pockets OF the
managers. She expects to draw her full salary
on pay day. Her presence was required In "A
very marked situation OF the closing scene.
But without word Of intimation to her asso-
ciates sue LETT the theatre at the close OF her
ing the people on the stage. and compelling
their ready wits to overlap her deficiency, and
do the best they could with eItenporaneous
enort. The audience saw the dilemma. hey
noticed the laughter of the artists and hun
dreds knew perfectly well that this lady delib-
erate'y botched AN otherwise symmetrical close
caprice.
10 other words, II was Thanksgiving Day, and
she mad COMPANY ht homer
No true artist would ttihe with an audience
OF one, and I'm glad to believe that our best
inform Ell managers are becoming s'ricter In
their requirements, both at rehearsal aud public
performance. sp ce lis In which 70 treat "
the curtain falls; Of the tobacco chewer. or
OF the chilly draugnt from the stage. he long,
dfeary waits which are Inflicted on the audience
at Wallack's and Days are trials to patience;
and who can picture the r, nB offence OF the
lug, and greatly discomfnorinp their n, ighbors,
and come back lOaued wi h all Tower toJdy2
After the first act the men smell Of cloves, cOf-
Zee BEANS aud wiskey. IL isn't nice. Wore
than tn t. 1t isa nrst-css nuisance, of when
every gentleman should be asnsmed.
MONSIEUR X.
Thco. Tbomas's second symphony Concert.
Mr.. Thomas abors under a serious disad-
vantage when one Of bis concerts takes place on
the evening Of a day when there has been a
matinee at Steinway Hall. His audience on
such an occasion comes into a concert room the
oxygen Of which has already been consumed by
n thousand lungs, and at once they are nearly
stupened by noxious aud nwholesome atmos-
phere.
This Is no proper preparation for a concert,
least Of all fol a classical concert, where undi-
vided attention and senses on tho alert
needed.
The admirable concert Of last evening suffered
detriment from Just this state Of Affairs. Tho
music was superb. but the atmosphere Of the
ball was horrible.
The programme consisted Of an overture
schetzo ana male bv Schumannthe Norspiel to
waener's GotterdaDmorung. and Beetnoven's
fourth svmohonv
=
music. me vocal portions were given by
Madame Rudersdorn and Mr.. Bischon.
here 10 no artist In the country who has a
more intelligent appreci 'tion ~ the way In
which great dram tic music like that from
Wnener's drama should he sung than Nine Ru.
defsdorn. AMI her broad, massive, and noble
style did much to make II lDteIlizlble 10
the audience. But Wagner's music needs atext.
As he never writes with ut direct purpose OF
expressing nd emphasizing some thouxbt, II is
essential to know what the thought Ia. As well
might one listen to "A great orator declaiming
IN some totally unknown tongue to
that the words furnish. The sounds IRE there
IN either case. and the how and sweep oil the
sentences or musical phrases, but an Intelligent
understanding Is lacking.
Nevertheless, even " 200 en- so presented, Wagner
Ia the most exciting Of composers, for he pours
such a wealth OF musical color over everything,
and sets out his Thought In sucn varied,
brilliant, and striking forms, that an In
tense earerness - kinded to get the key
OF his purpose, and to know exactly the
situation he Is Describing and illustrating. With
on this Key the vocal parts seem Ike series Of
vii and almost unmusical cries with II hey
resolve themselves into forms new, strange,
won irrful, ana Of Absorbing interest.
Ii Is curious to observe the effect OF this
oitIns music not unl' on the orchestra. but on
the Usually tnpassive and stoIld tonductor Nr.
Thomas Is all energy from head to foot when he
conducts Nagners usir. the quiet. nom
cbalrnt. and almost sleepy way IN which
he leads an overture bv Mendel-sonn,
just wtgsing his baton to indicate the tempo,
gives place 10 the broadest aud most sweeIing
gestui es, aud to an energy that shows what
spirit aud enthusiasm here 10 IN the cond uctor
when emergency calls for II.
As for the Beethoven symphony which stood
In such strong contras TO the Wagner music,
no words OF praise could be too great to eI-
press tie Adiniratton the performance deserved.
several concerts In combination WITH the
Thomas orchestra.