The record-union., 1897-10-03

sigh and again she said. still looking at
Miss Shannon: Isn't she SWEET
II is always interesting to know what
people in the audience think of the
people on the stage, the likes and dis
likes they take, not so much to the
character of the play as to the per-
sonality of the player. They do take
likes, fads and fancies, real likings
and disikes in that way. Miss Shannon
herself said that talking in her dress
ing room that same evening and she
did not know then, and does not know
now, probably, that there was a wom-
an in the audience who thought her
sweet" Perhaps Miss Shannon may
be called a woman's woman. There
are some women on the stage, as there
are off it. whom other women never re-
ally like in the from before-the foot
lights acquaintance they form with
them. It is always a compliment to
woman to be a woman's woman She
may have any number of other ad-
mrers. but if the women all like her.
there is pretty sure to be something
good about her somewhere. Perhaps
it is Miss Shannons pretty blonde hair
W nICn lldheS the WOIIlt1l III (IC dAN-
ience like her People who are light
are always sure to be very good, while
the villains are all dark" That is an
other thing Miss Shannon herself said,
and she probably knows, because that
generally accepted belief has so far
been in the way of her fulfilling one Of
her pet ambitions. But all that comes
later.
The Dresden Conservatory Of Music
had last season 100 teachers and 1,007
pupils, including 5S7 females The
number of concerts given by the pupils
was fifty-two.
Mr. Sefdls recent successes in Lon
don and Bayreuth have called Europe's
attention to the fact that New York
owns the greatest of all operate con-
ductors. Several managers have en-
deavored to secure his services for the
coming season, among others Director
Loewe of Breslau, who wanted to en-
gage him for a tournee in Russia. AS
there will be no regular opera season in
New York the coming winter, Mr.. Seidl
might have easily accepted had it not
been for his loyalty to the Philharmonic
Society. He had agreed to conduct that
society's concerts, and, as he remarked
to a friend, When I accept a thing it
is settled for good"
OF Brahms amiable side N. Han
slick furnishes several illustrations.
One day he was found packing several
bottles Of champagne into a basket. On
being asked what he was about he re-
piled: They are for -, whose new
orchestral work has it's first perform
ance tonight. When he gets to his
supper after the concert, I want him
and his family to have a good time"
Shortly before his last illness he re-
ceived a visit from the wife of an emf
nent but impecunious Bohemian COM
poser. Brahms urged her to induce
her husband to move to Vienna, as that
would help him in his career. "Alas!"
exclaimed the woman, ''ff only it did
not cost so much to support a large
family in Vienna!" "If that is the
only obstacle said Brahms, ''it is cas-
lily overcome. Take of my means
whatever you choose. I myself need
very little The poor woman was so
overcome with emotion that her sobs
prevented her from answering him.
Another woman is referred to who was
such warm admirer of Brahms and
his music that In her last VIII she left
him her whole fortune-a considerable
sum. Brahms investigated the case,
and finding that the woman's husband
had by this will been seriously wronged,
H.1 E-o Il
steps to renounce his claims so that
the property reverted to the woman's
family.
New York Times: A singular people,
these rarisians. In 1861 Wagner's
"Tannhauser" was Kissed off the stage
of The Grand Opera. Now there is no
end Of ENTHUSIASM over Wagner's later
works in the same house. They have
put all the French operas of the
| Grand's Tepertory in the background,
and the latest operate novelty is THE
Flying Dutchman," with which Wag
ner when he first went to Paris hoped
to introduce himself to the French peo-
pie Then the libretto was approved
of. but ether music was thought to be
necessary The enthusiasm of the
French Wagnerites is known to all
visitors to the Bayreuth festivals. 1t
| is only a few years since Siegfried
Wagner. the poet musicians son, was
moved tG say that the French Wag-
nerites were more Wagnerian than
Wagner The significance of the re-
mark is perfectly plain to all who
have made observations in Paris and
Bayreuth. There can be no doubt
that the tardy and slow introduction
/ of the Wagnerian repertory at the
Grand Cpera IS largely due to the fear
of the French composers that it will
be all day with their works as soon as
/ the entire Wagnerian list is open to
the public Tt is to be feared that even
NJ. Saint-Saens sacrificed little of his
manhood and artistic honesty to this
/ apprehension q few years ago. when
4 in The face Of his published convictions
/ he Joined in the cry against the admis-
/ sion Of Wagner to the repertory of the
Grand: and it is even possible that DO
/ litical prejudices. ingeniously invoked
/ by the friends of Mime. Caron. had
/ sonet hing to do with the disafection
/ expressed by the newspapers with Nine
/ Nordica's imrarsonation of Elsa in
| e'Lohengrin.'' Certain it is that to
/ those familiar with the best tradition
/ of Wagner. the French objections to
| the American singers embodiment of
/ the German ideal sounded very strange
/ indead.
/ A publishing house recently founded
| in Berlin has engaged Professor Rel
! mann rs editor Of a series of biogra-
/ phies Of the great composers: Among
| the contributors will be La Mara. Jad-
/ assohn, Lessmann, Bluthaupt, Germs