The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1894-06-08

Yes, we have often thought of chang
ing tie name of the TivoIi, ana calling it
Bauer's Opera-house."
There was an ironcal smile on the lips
of Joe Rolz the treasurer of the Tivoli,
that belied his words, as he made the
above statement, in the Office of the theater
yesterday. Mrs. Krellng. who was present.
smiled too, so did half a dozen Of the
Tivoli personnel who were present and
who were ready 10 affirm that they were
all rejoicing in a feeling Of personal free
dom TO which they had long been
strangers.
Bauer tried TO run everything in this
theater," continued Joe HolZ. glaBcing at
Mrs. KEELING, who nodded approval, she
tried to run the chorus. the stage, the front
OF the house, the box-ofice, The bar. he
even tried TO run me-but he did not sue
coed there" and The treasurer smiled
again. in an expressive manner, which
SAID plainly that he would like TO see the
man who could perform that feat.
Mr.. Bauer was altogether too auto
crate" said Mrs. Kreling. He drove
away valuable choTus-singeTs and soloists
if he did not happen 10 like them"
He was the cause of more good people
leaving the house than any one could lm-
agine," said the treasurer, regretfully.
There was Miss Ida Valerga, for in
stance; she would never sIl while Bauer
was in the theateT. One thing that the
performers would not stand was 10 have
Emma Vorce, the lady known in private
life as Mrs. Bauer, put into a position on
the stage TO which her artistic merits cei-
tainly did not entIIle her. 1t was on her
account that Bauer never held a position
long IN the East. Wherever he is he tries
TO give her a prominent position In the
performance and people won't stand it.
He had trouble with me because l would
not cut her name on the bill, and l re-
fused to do IL because | thought IL kept
people from the house. There was John
Nash, who finished his engagement as
stage manager in August, 81, and who
LETT us and went back to the BOStonianS
because be would not work in the theater
with Adolf Bauer"
That was my real reason for Diminishing
Nj. Bauer" interposed Mrs. KreIing.
We consider Mr.. Nash the best stage
manager in the United States. and were
very anxious to secure his services again,
but when we opened negotiations with
him be refused TO come back on account of
our musical conductor, Where is his let
ter? Yes, this is what he says" and Mrs.
krelng opened letter signed John
Nash" and pointed to paragraph which
read, 81 could not work in the same the
ater with Mr.. Bauer again under any cir
cumstances."
You see We were compelled to choose
between Bauer and Nash. and we consid-
cred Nash much the more valuable. / am
glad TO say we have got him" said Mrs.
Kreing with a pleased smile
lit was Mrs. Kreling's wish to get rid
of Bauer, as soon as she knew bis dismis-
sal was one of the conditions of Nash's re-
turn" said Joe HOlZ. There were no
tears shed in the theater after be went
away, but there has been a good deal Of
rejoicing, for be was very cordially hated.
ut is quite a mistake to suppose that
Bauer built up the Tivoli orchestra.
George LOesck and Joe Kreling did that
long ago. Kreling gave LOesck carte
blanche to get The best performers he
could. AS for Bauer. when it came to
symphony. he had not any musical ear, he
could not even detect mistakes. They say
he expects to 60 East to play in the
Thomas orchestra, but what instrument l
cannot imagine, Tor outside the piano be
cannot play any. except the hand-organ or
the jewsharp."
Without adopting the extreme view Of
Mr.. HolZ, it may safely be stated that
Just how much gratitude the public and
the musicians Of San francisco owe to Mr..
Bauer for his symphony concerts has long
been disputed point. Bauer had better
material for giving high-class concerts than
Scheel. With three exceptions his sOloists
wer6 so far superior to any in the Scheel
OECu6SLId tldb even CUnphII SUu DblW6S0
them was out of the question. When
Scheel first came to San Francisco his men
had not rehearsed together so much as
Bauer's had. and yet Bauer's warmest
friends never thought of saying his con-
certs were equal to the Scheel ones.
The fact that they had to rank in the
public estimation as inferior performers
to those of the Vienna PrateT orchestra,
whereas they were really superior, was
felt keenly by the San Francisco must
clans at the time. A few weeks ago Sig
mund Beel, in a published letter. replied
&c the charge of inferiority by declaring
that the fault lay not in the men, but in
the conductor. and there were very few
musical people who did not uphold that
view of the case. AS for the general
public, few of them were grateful for
small musics, but others said openly thai.
symphony, if not done well. had better be
left alone.
At any rate, Bauer's symphony concerts
not only added a very transltory glory to
his name, but also induced touch Of that
disease Familiarity known as 'tbe big
head" The coming of Scheel relegated
him TO his natural place as an interpreter
of symphony, and now it transpires that
it was his autocratic way of dealing with
his fellow-workers that lost Bauer the
Ata SCr /, or