New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-01-09
MUSICAL COMMENT.
THE ORCHESTRA AT THE METROPOLITAN
OPERA HOUsE-MR DAMROscHs CON.
CERTs FOR YOUNG PEOPLE-THE
CASTLE SQUARE OPERA CON-
PANY-DOINGs IN OPERA
AND CONCERT.

PANY-DOINGS IN OPERA
AND CONCERT.
1t Is the province n the newspaper reviewer a
musical affairs discuss what is done rather than
to ask to have 1t done in conformity with his no.
lions. which may have much. little or no weight
according they show soundness. sympathy
freedom from prejudice and rracticability or tina
reverse Yet there are times when conventionaI
ties are put aside for the sake OF higher things
and. recognizing such moment in Mr.. Grau's pro.
duction OF the Nibelung tetralogy, perhaps Thu
Tribune will be pardoned II It urges the lowering
of the orchestra IN the Metropolitan Opera House
or In default Of that more careful graduation OF
the bands tone with reference TO that OF the voices
There has been considerable criticism OF Herr
Schalk. some Of II in the columns OF this Journal
1t has not all been wise or fair. Nobody familiar
with the conductors province who heard the
Tristan und Isolde" of last Saturday afternoon
capable Of observing and willing to do justice to
Herr Scha!k could say that II In any respect
the work OF an ordinary Capemester. In It's char.
acterstic features IL indeed extraordinary.
New-York has never had a conductor with so keen
an ear nor pa'nstaking In the exposition u
what the composer put into his score. New-York
has never seen a conductor more alert and more
capable OF getting what he wants from the mu-
scIans. He is the very opposite of the distemper
painter and therefore he has disappointed some
who have recognition only for glaring effects. His
shortcomings have been felt somewhat keenly. be-
cause his lamented pred Cessor a master IN
the production OF climaxes one who depended on
results. and4cared little for the manner in which
they were produceu who spent small time in the
working out Of detail and the attainment OF finish
but taught his men to go with him and utter hIs
feelings the moments when such utterances
were the life Of the compos. ion. Amid the surge
Of the passion which he tossed up by the magic Of
his personal influence. all thought OF means and
methods was forgotten That gift Herr Schak
has vet
wrong stealing to withhold the statement
that he came closer to Herr Seidl In creating tho
excitement which eliminates in the arrival OF
Isolde in the third act OF Wagners - ma than
any conductor have observed Herr Aottl. with
his Bayreuthian prestige. not excepted
Mr.. Seldrs marvellous capacity for inspiring his
that they did his wishes almost intuitivsly
enabled him bestow the closest regard to the
singers and their needs. Frequently theatrical and
fantastic In the concert-room, he was most crcum-
spect In the theatre. Orchestral accompaniment
which twined more lovingly. sympathetically, sup
plementay and helpfully around the vocal parts
than those he conducted seldom heard; and II
was because he felt with the singers, who knew
the spirit OF Wagners music The could and did con-
duct some other operas very badly and could de-
vote himself them. that he gave them just what
they and the art work wanted Herr Schalk. with
a praiseworthy ability TO keep eye ear and con-
trolling hand On everything. seems to be too much
concerned about bringing all the details OF the
score into notice. to marking the entrance OF every
instrument and determining its nuances, to produce
the emotional effects which can never be withouta
certain amount OF spontaneity. This painstaknG
which would be inestimabiy valuable II all It's re-
suits could be achieved in rehearsal. leaving the
conductor free nfuse life and elasticity into the
performance avenges Itself In timidlty WHICH
publishes itself In that extreme care that aimo"
always leads to blunders. The climax OF Tristans
song in the third act was marred by the nrst norm
on Saturday who had lost the irmness OF his EN-.
bouchure either because much was asked Oh
him or because the muscles OF his mouth were
oyer-weary from excessive rehearsing. The case
was one OF many. and all the time while the o.
tails Of the orchestral Part were noating gu, ior
the edihcaton of the musicians In the audience
those who wanted to lose all thought OF the Inc
strument In listening TO the words and drinking IN
the emotional proclamation which gushed from to
mouths of the singers wished Herr Schalk haN
but known that upon him devoved crying neces-
sity Of 80 subduing the orchestral part that the
effect which We know from Bayreuth might be At
tained.
What is essential In this respect In Tristan und
Isolde" is douby essential in the Nibelung dramsA
which were composed largely with the Bayreuth
festival theatre and Its sunken orchestra In view.
Mr. Grau has not lightly undertaken his part OF
the enterprise in producing the tetraiogy Win
greater completeness and sumptuousness than
NEWCOMERS, by means strangers TO the WORK.
know but neither is such a hearing as the WORK
wants under such circumstances to be undertaken
lightly by the public. The attitude OF the audi
ences must be much more serious than Is COM
monty assumed or the tetraogy will prove a disap-
no,ntment boisterous an infexible orchestra viii
threaten danger which be avoided either by
lowering the floor Of the orchestral pit 10 "here
was when the Metropolitan Opera House was nrst
opened or rearranging what the painter would call
the values of the score
Mr. Frank Damrosch made two happy casts 10
h,s third symphony concert for young people al
Carnegie Hall last Saturday afternoon. First. he
enlivened the exposition and analysis OF Beetho-
ven's eighth symphony with an episode which was
as charming IT was unexpected. and then No
wdened the horizon OF hundreds OF his little list
eners who play Schumann's 'Kinderscenen" and
'Jugendalbum' by bringing in Mr.. Arthur WHIT
ing to play set of the little pieces Tor tnem-
thus showing how beautiful from a musical point
Of view how prettily descriptive and how fu Oh
sentiment they are The episode which gave
special charm to the analysis OF Beethovens SYM
phony was the performance by four women MEM
bers of the Musical Art Society of the canon whose
melody is the principal theme OF the fascinauhs
Allegretto Scherzando OF the work a movement 20
al-compelling in Its charm that Berlioz thought"
must have fallen straight from heaven into tns
brain Of It's author and been written at sing"
sitting while so different man as Schopennaue''
the pessimist declared that Il was enough TO MAXI
one forget that the world was full of misery ana
nothing else. Beethoven wrote the canon Tor
farewell supper to Maze the inventor. or rathes
the improver. OF the metronome. and the words as
a punn!ng farewell 10 the mechancian who w~
about to go to London. TIA, ta leber MaileI
leben Sic woh sehr wohl; Banner der Zeit. grosseF
metronom.' The reiterated TIA, ia. ta.' on tns
B-fat chord 1t is heard at the beginning OF Toe
movement in the symphony initiates the ticking OF
the metronome and the effect is extremely anus
ing Mr. Damrosch explained the use OF the metro
nome exhibited 1t to his audience. and lei II usN
out the time in which the canon was sung i
delightful music was welcome surprise 10 w