New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-10-14
BOSTON'S NEW CONDUCTOR.
HERR NIKISCH AND HIS STYLE.
rrRoxA s1ArY CORRESPONDENT orrnErsrsusr.


planted from the conservative and tradition laden at,
mosphere OF LelpsIc to Boston, has had the fact I'm
pressed upon him that orchestral conductors have be-
come starr performers. Bostons welcome to hin
socially was OF the most cordial hnd, Its recognition
OF his ability as artist last night the first concert
OF tho Symphony Orchestra under his baton,
prompt and marvelously enthusiastic as
preliminary dispatch has already related II
the scenes at the Music Hall can bo viewed
as criterion for the estimation OF the gentleness o.
the Guys taste In music, the genulneness OF her APP
probation, the thooughness OF her understanding and
earne ness OF her devotion then II must be said Of Herr
Niksch that HIS lines have fallen in pleasant places
and OF the city that she is blessed beyond measure
in the disposition OF her people toward an art which
makes for the civic virtues in a degree scarcely
equalled by any other agent OF civilization.
1t a delight TO witness an assemblage thai
crowded tho Music Hail. gathered together to hear
concert OF high-ca5s orchestral music, without
single adventurous feature designed 10 pander 10
immature false taste. 1t again delight 70
observe hOwin the presence Of symphony 0rhestras
concert there signs Of the petty dlysons
into cliques and fOOwngs which seem inseparabls
from great musical activity tas II the OF harmony
more than anything else a breeder Of
dscord and dssension), and TO be able to study by
scanning Of faces the wealth Of the city in musicians
Of earnestness, devotion and ability Of
composers whose promises have put on
who already bear their blushing honors thick upon
them; to the venerable Dwight stil standing on
the watch tower though he no longer loudly proclams
the good and warns against the evil to look upon
the genial countcnance of Paine, the militant Ggue
OF Zerrahn, see Lang and Whitney and Lktemann
and Whiting and OsgOOd, and score more Of choice
and master spirits, and feel that they IN ap-
precative support Of Mr.. Higginson's organization
All these things are lovely and offer encouragement
1t,
has not yet stamped ont the love for things Of
gentle ministration and will not be able to she IL
for a long tme 10 n ever They also strengthen
determination not to speculate upon what may DO
the other side Of the picture, the dissOnanres that
may be hidden, the pretence Of appreciation and love
which Is only pretence, the enthusiasm which is
cOunerfeited. the devotion to Dame Fashion. which
IS cloaked under apparent devotion 10 Apollo.
Boston doubtless has her share Of these things, yet
she Is TO be envled by the lovers of the orchestral
classics for the three-fOld possession Of Higfnson,
Nikisch and the Symphony Orchestra
Herr Nikisch ought to be useful stimulus TO
music criticism IN Boston. He is the kind Of con-
ductor who gives people who can think something to
think about. He troubles the musical waters with
his baton and will not have them stagnate. He
belongs to the younger set Of conductors who are
putting an end to the old music-box style OF H~form-
ance. He IS an Interpreter eXpounder, common tator;
but he lets the Instruments inspired by the men exc
cutting his will make the publication. He invites
fortssimO by of his wand but he does not
act the fortssmo for the edlhcatlon Of the audience
He uses no music, but he makes parade of the
fact His gestures are incsive and full Of nervous
energy, but not sweeping He keeps his eyes and
features for the musicians and far possible, also
HIS right hand and His left hand is
seldom used he keeps 1t out of sight
by hanging It to tho pocket Of his waistcoat by its
thumb. and when he calls It into action 1t Is only
for a moment TO hold wing OF his forces in check.
lie does not obtrude his signs Of expression upon
tho public, though he uses them freely; his men
know his intentions before they come before the
people. He directs his men, controls and sways
them; they his agents Of expression, the vehicles
OF his emotional proclamation They follow him
boldly in the widest charge, for he neglects no cue
He is a leader whom It is safe to follow.
lie IS safe for the musicians because Of HIS COM
mand of the mechanics Of conducting.
He is safe for tho public, because. so
far as can be judged by last nights
music though he is what we would call a romands
conductor, he neglects none of the canons Of good
taste, violates law Of beauty. He has no rever>
ence for tradition, It would perhaps be better TO
say. makes bugbear of It, but he does not iove
lawlessness for its own sake To got at the heart
OF the composition. its warm, throbbing feeling heart,
Is HIS first aim, and his next Is TO let the public
feel its pulsatOns. II conventional methods or ira
ditonal notions stand in the way Of his purpose he
brushes them aside. He makes use Of tho utmost
freedom in the matter of time changes, yet adheres
in general way to normal unit
of measure which, last night, In every case
entirely sane and in accordance with what must be
looked upon as the composers wishes. In this ~
spects his Interpretation Of the prelude TO Dia
Mestersinger7 was the most beautiful that 1 have
ever been privileged 10 hear. The abrupt changes
Of time, especially between the first and tho riddle
part (when the woodwinds play the principal subject
haro la1t
spring are entirely lacking. Herr Nkisch follows tho
composers explicit directions, and departs as little
and seldom possible from the chief time OF tho
composition. He brings out the first melody and
tho Mastersngers' march in broad style, solid and
four conered, beseems the representative melodies
OF Nurembergs burgherrom Even in the saurical
middle part this solhy is not put Off, but is used
TO intensity the effect of the unyeldng pedantry OF
the singers guild. but singing under and against IL
with splendid stress OF passionate utterance comes
tho melody in the strings which tells of the young
knights love and the young poets protest against
the formulares which relied on 10 put him
down. What is obviously the composers Intention is
attained not by dislOcaton of the time. but by elo
qucnce OF expression All OF the details of Herr
Nillsoh's readings cannot be discussed here, but
another deserves TO be mentioned. Something analo-
gous to the requirements Of good composition, as
stated by old Galuppi to Dr. Burney. Beauty. clear
ness and good modulahon.' to be tho things
which arc uppermost in Herr Nhschs mind: but
they are So not for their own saha but because
truthful and potent expression is impossible without
them means b their attainment, Herr Nilsch
seems 10 think, is deiberation. He never permits
himself TO fall into undue haste; he Obscures
figure or phrase, be it melodc rhythmic in order
to reach prcconccved idea to its proper tempo
The musical idea must impress itself firmly on the
mind Of the listener. The dramatic developmens
brought to a climax by augmentation Of force or speeh'
comes soon enough and all the more pj|eniHS oo-
cause It Is not precipitated. Meanwhile W hco @'''
iustment of parts the voices Of the composition arc
made TO stand out brightly and seirehah'S' In'
prelude to Die Meist,rsinger' with all It's rcohui"
conyoutons and pOlyphonal inircacles was Pleseh'N
as a marvel Of lucidlty yet carefully was the intrinsic
character NJ each of IFS constituent melodies preserved
=, j.. -, In, ,ror,o,b ard feelng Another