Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-05-03

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opera and "OId Folks at Home, I" and the
majority Of its people do mot care 2 cen q
for Spohr or Scbuman. heyerbeer or Chopin
or Wagner and the rest of the gods OF high
art
Art That Isn't Appreciated.
Symphonic poems are aiivery we'll, and
"Romances" from Wagner and "Rhsp.
sodies" from Liszt are enrapturing for
musicians of certain type, but to the great
talks or q bore. A piano solo-save as an
exhibition of skill in pounding ivory-is to
nine people ont OF ten an indietion too
| grievous 10 be borne, IT. they can get out oi
| 1t, while to the few 1t IL q pleasure only too
rare: To the many 1t is only interesting be-
cause 1t ia not impossible, like an exhibi-
tion at dime museum. Anything more
| depressing or more tiresome than Chopin
| Romance" or a Liszt Rhapsody" by a
passable amateur or conceited artist it
would be hard to find.
Chopin's music, says an author, is like
| nothing SO much as "the murmuring of a
waterfall" or "the whispering of the mid
night wind" As generally inflicted upon a
suffering audience. 1t might more likely
| suggest the exasperatingness Of a leak in
the water pipe, or wheeling of the midnight
air on telegraph wire. To the same author
Liszt "Rha psody" conveys the emotions
inspired BY "a thunder of cascades and hur-
ricanes," to which might be added occa-
| sionally the rumpus OF a cyclone on "a
tear" and the diabolical screeches Of de-
mented steam whistles.
A Little Too Much Of Wagner.
The programme of the Festival presents
too much Of the new god Wagner for the
popular taste. HIS is the music of the fut-
ure, and the future may have all it wants Of
him, but with the present little of him
goes long way. The world is growing up
to him perhaps, but to make the May Fes-
tival popular. Wagner should be very SPAR
ing-rather than Iavishly-used. In his
works he addressed himself not to the masses.
for which he had no affinity, as he himself
says, but to the few. His opera of ''Tann-
hauser" was a sad and sorry failure at its
first representation, although the actors,
musicians, chorus, every one concerned
worked to the utmost of their powers to make
it success. This so disguised him that he
forthwith concluded to leave the public out
of his work. However, be afterward, through
the kindness of Liszt. found q patron in a
crazy King, who wanted theater and
composer all to himself Failing even to i'm
press himself upon the public of Germany
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favor or draw we'll in Pittsburg? Is it
probable that with all the advance made in
musical taste since the days of Tetedoux and
his shoemaker orchestrs," we, the people,
are sufficiently elevated 2" Such a pro-
gramme might meet with q mighty success
in Germany and draw dollars enough to
bulge the pockets of the managers like those
of silver kings and iron magnates, because
the Germans are musical people who would
stand by their "big guns" so largely repre-
sented. But 1t is to be feared that 1t is too
Dutch" for Pittsburg.
1t Was Too Much for New York.
New Yorkers tried it, and finally found
they couldn't stand it. They resigned Wag-
ner and his operas. and all that in him Is
without a pang. There may have been
weeping and wailing among the musicians,
but all others rejoiced and were glad when
he was "fred out" of the Metropolitan
Opera House. The music to which the
hearts Of the main body Of the people re-
spond may be "clap-trap," melodious
jingles. "vuIgar stuff" as some artistic
musicians affirm, but. as they say at camp
meeting. the grace of God gets there just the
same.
To be popular o preacher mus reach all
his hearers, not merely those whose prayer
books are mounted in gold and silver, and
who cannot worship without high art ac-
com paniments. To reach the masses his
preaching must be adapted to their compre-
hension and appreciation. His sentences
need not possess the rounding out elegance
of Addisonian English, nor the stilted OBJ
scurity Of Browning. He knows, or ought
to know, that however able and scholarly
and high-toned he may be unless he touches
the heart and awakens the understanding
h. - l. xLxs. -
the great composer, tried for years to force /,
to ruin financially in the endeavor, but in
his oratorios he was recognized by the
masses, while the nobility would not even
listen to them. There is q lesson in this
also moral.
A Question About Dollars, -
The programme for the May FESTIVAL is
treasures from renowned artists, but there is
reason to fear that there is much of it too
foreign for popularity, and in order to pay,
the Festival must take with the pubiic-that
is, unless the patrons are willing to reach
down into their pockets and foot the bills
But it may be observed that Wagner's
operas did not prove success in New York,
although backed by all the millionaires and
the dabblers in, and gabblers on, Wagner
ism. Why should Pittsburg not benefit by
this example?
Still, as the programme stands, ii will be |
valuable in the way of estimating the alti-
tude of the public taste. 1t will be meas
ure of the magnitude of the work accom-
plished as compared with the object and |
ideal Of the old Cautata Society. 1. is true
it did not contemplate Wagner as small |
god or fashionable fad" as he now appears;
still, it has certainly brought about great
things when by its efforts and influence the |
MAY Festival has become an institution.
Let it be made for the people-to attract the
many. Bessie BRAMBLE.