The record-union., 1894-02-24

encouraging the new movement. But
they were indefinite in their praise of the
music and confused about the negro mel
odles. They could name the songs. They
could not understand the Americanisn.
They had gone to the concert with minds
set 10 perceive and describe what was
American, and they altogether missed it.
Losing this they had not needed or heard
the piece as a work of art.
The fact of the matter was the SYM
phony was German all through. Doorak
could have written it Just as it was had he
never come here, if the few songs had
been sent to him in Vienna. 1t was the
spirit that was wanting, and that is what
makes the body OF music. AS one lis
tened TO it one caught q melody and eX-
claimed, "Therei There is one," but as
the little thread Of black song was drawn
out and spun into Tie tapestry of the
Scherzo, the negro, the American was lost
III the scheme oI The German handling.
" hat LAoorak has really done, which is
OF permanent value, 10 make this winter
memorable in the history of music in
America, is to teach his pupils that there
is American stuff Tor music to be tried.
and their audience ana fellow citizens
that such efforts are laudable and worth
listening TO. An interest in the public
and a desire in the musician are two notes
to make a chord, which is yet to be found.
His students have listened to him. They
believe him, and they will try to produce
American music. They alone, and no
foreigner can do it.
There came 10 town this week a comic
opera called The OgalIallas," so novel,
SO free from any "reminiscences OF any
other work, foreign or domestic, that it
justities the assertion that what DOorak
brought here was already working among
US. 1t is American in text and IN score,
and as such il was Immediately recog-
niZed by the critics. and what is still more
significant, appreciated by the public.
For, after all it is success that is the
surest, if not the nobleSt test OF Amerl-
can music, as of most things.
In grand opera, of course, it is as yet
purely European problem or contest.
This winter was an unexpected triumph
for the most glorious form OF the musical
art. All during last spring it looked
doubtful whether the grand opera would
have any throne in New York at all.
When a syndicate finally was formed and
the old Opera-house cleared of ashes and
rebuilt, that difficulty was settled. Then
came the contest over what sort of opera
should begin, German, French or Italian.
The Italians won. The matter was left
to Abbey and Grau and they engaged an
Italian orchestra (which alone was Suffi-
cient to exclude good German music,
and then ordered Italian singers. 1t IS
amusing in this connection to observe
that the Italians at home have bad great
trouble and some failures in their efforts
to bring out new operatic work, because
they cannot get enough good Italian sing
ers. But Mr.. Abbey got his singers and
gave all sorts of music, with preponder-
ance of Italian work. The company
failed on the Wagner music, and it was
pretty definitely settled that Italian meth
DDS of instruction are not thorough
enough to make singers of that masters
music. He has driven Patti Oft the stage.
and will soon finish with the rest OF her
countrymen and women, or with their
teachers.
Though the season seemed to be one of
Italian opportunities, it is apt, with the
present feelings Of the public, to insure
the return Of the Wagnerian school, for
the welcome that greeted the old Italian
music is in remarkable contrast with the
farewell. Even the Italians are writing
music on Wagnerian principles. "Caval-
leria Rusticana'' is Italian all through,
but the influence of the German is evil
dent, both muscally and intellectually.
Il Pagliacci" is, if possible, both more
Italian and more German than its rival.
j. l.. :.