The times. [volume] (Richmond, Va.) 1890-1903, 1894-07-22

cal culture and subsdlze the opera IN ac.
cordance with tie expressed WISHES VI
many prominent American musiclsns ,,o
Mr.. Damrosch became suddenly kIdNe
again. Not n bit Of IT," he said. "lmas
Inc Tammany Hall. for instance, lntrusteu
with the distribution OF sums for the pro
motion OF musical culture In New OIk.
You laugh. but really that would be very
nttle different from leaving the matter
TO the national government No, the gov
eminent must get strong enough 10 put
Gown labor rebellions and prevent rlots
before II turns its attention 10 music.
Let the millioraires do all the subsidlz-
ing that opera and other forms Of music
neeu' as they are doing at present IL IS
more IN accordance with the spirit OF
American institutions and IL serves the
cause OF music better. Let other million
aires follow the example Of Andrew Car
hcsle, VINO built this beautiful temple or
MUSIC, music IN which We are talking lie IS
nlSunderstOod to be sure and l. amused
because he Is a capitalist. but after he is
sVne the people will begin TO appreciate
mn IT IS a great pity that he stands
80 niue chance Of getting his reward Of
apPi eciallon while he is alive to enjoy
Is II not true" Mr.. Damrosch was
ASKED, that little better understanding
vi musical forms and Of the methods by
III" musical language is made intelli
- ,'hr would do more than anything else
~ ndsten the era you prOphesy of Amer
iCd greatness in muslc?"
gu We mt II exactly" was the enthusl-
aSuc reply. why. 1t would be amazing
n mndt progress would be made in this
country II people understood how greatly
lhelr musical intelligence and enjoyment
"ouid De increased by a very little untech-
nicaI study Of musical forms Lectures
SVEN Just previous 10 concerts have done
ana VIII do great deal I'm this direction.
was more than satisfied with the results
OF the lew OF these lectures | have found
time 10 give. very few hours study OF
a frl4f XII II. 4fta
or composition. of the traditional ar
fangment Of musical ideas would make
surprising difference in the understanding
and enjoyment Of music on the part of
those who are not musicians themselves.
Ihcp would suddenly find that the sem
suous etects OF rhythm and melody are
not TO De compared in the amount OF
pleasure they can give. to the appreciation
of musical ideas arranged in logical
order"
What about the critics."
comparatively few newspapers under
take 70 give music serious and intclii-
gent consideration. and besides. unhap-
PLY, many Of the critics are men who
have a half knowledge Of music. who
have reached the point Of ability 20 find
fault sharply, but who have not the un-
Outstanding Of their work that is 70
CURED in bestowing discriminating praise.
That is a far higher and p far harder
thing To do. There are many critics IN
this country, however. who have done
good service. and who can praise intell-
gently. IT would have been very great
help TO me early I'm my career II the
critics had given me more OF that intel
ligcnt praise. Instead. they jumped upon
me viciOusly. They beat me on the head
and pounded me all over. W hen ! climbed
up they pulled me down. / could have
got along much faster but for that. But
ir is much better here than i'm England,
whore all is praise and OF the unds-
eliminating sort that is deadly. The
newspaper articles on music are going
q ne "A D.
cal America of the future. especially so
whom critics cease TO find fault with
technical matters which the musician
holds in comparatively slight esteem, and
are more often than not due 20 accident
or the atmosphere. Instead. what should
be considered chiefly. ] am sure. is tie
interpreters grasp on the spirit of the
composer ana his reproduction OF that
spirit In himself and i'm the intelligent
listener. That Is the heart and meaning
of music. and that il is which ls best
worth observing and bringing out ami
commenting upon"
Nr. Damrosch has the appearance Of a
cool. calculating man of indomltable VIII.
whose emotions could not by any pos
sibiiity, get the upper hand of him. 90
he says: In even the smallest and least
critical towns i'm which | ever appear in
public. the half hour before the concert ls
Invariably one of absolute misery. IL l5
not exactly stage fright, but "a sort OF
nervous fever. 1t is impossible 10 eat Or
drink anything. II is torture Ii iasts |
while ] walk out on the stage. The !
moment ] grasp the baton it is gone, !
absolutely and entirely. and does not |
come back again till the next concert. |
The worst torture of the sort ! ever |
suffered was the first night ] conducted |
az the Metropolitan opera House after !
my father had been seized with his last |
illness The opera was "Lohenerin,' and |
/ knew Il by heart. ! could have con- |
Quoted IL backward, and the orchestra !
knew il so we'll and was so perfectly |
drilled that. / suppose, no particular /
harm would have been done IL / bad /
conducted il backward Yet my agony /
that night ten years ago. is something |
i don't like to recall even now. The /
feeling has suhsided somewhat since then.
but il viii undoubtedly stick 90 = as
long as / appear in public
CURTIS BROWN.