New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1897-10-17

arc nearly always accompanied by Instruments
but these unless they be OF the pulsa'iie uiDe'
which can only mark time and rhythm play the
tune along with the voice. Mr.. heiey "'''e
a harmonized accompaniment for the panotor,e'
but in it Initiated not only the cadentiai s'ruih-
ming Of the guitars. but also the drum beats
In its way II is 4 perfect illustration Oh no"
the idiom Of Chinese music can be trahs'a,eu
into the modern European art Mr. kciiey io'
lowed 1t up with some orchestral pieces oi an"
bilious scope but of them we are unaoe I'D
speak Aside from the overture. we fancy MT
Kelley did not contribute anything to Ihe "a,
and tho Cherub" one scene has melodramatic
music from the sam hien-a three-stringed banjo
but here there was no imitation. the unseen
player his instrument and the tune being on-
viously Chinese. Along with the tragic close
Of the play there came several long drawn.
cavernous bass notes. more calculated to mystify
than TO edify the listeners II it is true. as has
been said. that the effect was bit Of naturalism
pure and simple beng but copy Of the voice
of a distant foghorn which booms through the
streets OF san Francisco. when the wind is
favorable to such phenomena. IT can only be said
that the device had something TO commend 1t on
one score at least and amid other surroundings
and under other conditions might have in
tensifed tn" feeling Of the play at the point
where it was introduced.
Mr. Furst and Mr. johnson took more seri-
Gus view II their task than their colleagues.
The music which they provided includes over
ture. an lntcrnczzo between the two acts. prel-
udcs and postlul~s for each act. song for one
~ The characters. and Incidental music not only
for the incidents Of the play. but also remnis-
b.f - Chinese
monies The Worship music from a Josshouse
.,rrns an incident FOR instance. Mr. Johnson
We fancy is a san Francisco musician. His is
,h,. overture. called originally. w. belieye. THE
Hishhiudrr's Patrol" 90 which realism Is car
RED To- n" extent II The Introduction u the
chinese obo. (which shrirks Ike demon IN
aepu,b Ind almost / full complement II the
Chimes. Instrument, If percussion wooden
drums. drums with skin heads. cymbals and
gong In this overture the spirit Of Chinese
music is admirably given ont by me orchestra
and one melody At lelst-that played by the
d.moniac obo.-i- authentic The true purpose
u the study II national music for use in our
own art being. not It's literal reproduction but
tn. discovery and employ m,nt Of the cssc ntlals
from wh!,h 1t derives rs spirit. a little modcra-
tion might p" recommended in the use II the
pulsAtll- din-prolucor9. MIR Furst. who IS the
theatres. MAS for SIX years 4 resident Of san
Francisco. Whcr" u" h"c anne deeply interested
IN the music II the Chinese theatres The
studies Nhi,h u" mad" there stood him IN good
stead when lie wrote the incidental music for
"Th. FIRST Born 90 II" has Death WAR
Ia me- a melody from The Feast of the Moon"
a Joss Hymn ami Feast ~ the Frost" all
Of which were noted down from performances
by Chinese musicians. These he utilizes in his
/ curtain mclodramatic and b"twcon-acts music
Thus the .ntrrm"ZLo. In which some charming
instrumental fleets are obtained by id-aliZing
sugg 3tions furnished probably 10y the moon
quit lr has for its ih"matic material 4 melody
from Tn. Feast III the Moon" and the murder
phrase In The first Of these melodies there is 4
/ Use Of the fiat seventh. feature which we have
meyer observed IN Chiu"s. music. Three Of the
other :un"s are strictly icntatonic g. =. they
bui!t On our major scale. emitting the fourth
and SEVENTH. and colform - the popular Chi
ncs. system.
one of The points bound to arrest attention