New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-03-19

greater attention and does not tempt people To take
things easily at the same time eNactng from Inc
orchestra increased esteem lor ar HSei ""e g
work in hand-inhuenced cVeIEDoaX on me me, s LIZ
and inspired do our best All this still lives
Der with deepest gratitude the glorious time when
permitted to work with Albert Nlemaih
Marianne Brandt. Emil Fischer and others who
may never return. when those sacred ues Whlch 90
not always unite all the artists acCidentay thrown
se5d said littie but we feit everything without
hearing his words. and the heavenly contentnent
WI" Fe M!cn g gnd the Ring iled our
hearts can be compared with nothing in this
world
Marianne Brandt tells two pretty anecdotes:
summer r.''t Of ISL Wasner had sent for me ana
asked me to sing Kundry. At that time Wagner
was the favorite Of the whole family WIN Seldi
! studied KundTy's narrative at Wahnfred. ana
he played the accompaniment when J sang before
Wagner 1t was the first time that Wagner heard
this part sung by female voice: ms eyes We're iulI
had to sing the part again for Mrs. Wagner' and
when l had finished Wagner said: What | have
done there Is not so bad. after all
Wagner at that time in very good humor.
suddenly into his library and brought big book.
was it? R6ssinis "Otheno" Wagner turned the
leaves for while. told sedl to play this or that
Trio for soprano tenor and bass. he cried: we
must sing this" and we started at once. Wagner
soprano It was very forid air, where one after
the other sings his passages until all three VOICES
as they came. of course almost bursting with
laughter. never again saw wagner ana 9eluI 80
merry as they were that evening.
Here is a pretty illustration Of his interest in de-
tail told by Nine. Nordica
His learning was so profound and extended TO all
channels bearing on Wagnerian subjects parucu-
larry win sven thoroug9hess Una, ms Iea r rs
the music dramas and his eXactness extended to the
multitude Of details accepted as minor. but Of such
importance. one day. after devoting three hours
of his time 10 going over the score Of Tristan.
went to Broadway store to buy veil for
Isolde in the second act. He asked for samples Of
various kinds Of tule. and when they came. he
other rapidly through the air. TO the great aston
ishment of the shoppers and shopgirls who were
| But he knew Just what he wanted.
a trait which Seidl shared with his master Wag-
ner is described in the letter Of Nine. Eames:
As a man. unfortunately, did not know him as
| well My opportunities for knowing him were, with
| one TWO exceptions found only when my work
threw with him His genialitY always i'm
| pressed me, and one thing in his character ap-
pealed most particularly TO his love OF dogs.
| one night during my last winter here-the winter
whole evening with stories Of his delightful dachs
| hunde His feeling for our dumb friends and his
heaTt ne had. lhat evening was dra~h t""arH
him more nearly than ever before, as l. too, love
|
| viduality.
| Signor Campanar reproduces invitation to
supper IN what he calls "purposely ludicrous ltal-
| ian" TO him when he travelled solo attrac-
| ton with Mr.. Soidl's orchestra. signed Antonio
| Sedlino" tells how Scidl and ne played pianoforie
| duets at a hotel in Eastern town. where the
| concert company stalled by the breaking down
Of the locomotive engine. and ends with this ex-
tremey characteristic anecdote:
| The last time that Mr.. Seidl conducted Die
| Meistersinger' Din Italian at the Metropolitan,
had been intrusted with me part Of kothnef. Al
| ter scene in the hrst act this character does
| fall 10 his lot that this ntermssion meant
rally prevented me from sitting in the audtorium
| and enjoying the opera ! begged Mr. Seidl to
! to be waved by one Of the chorus. No" he re-
| piled. remain for the masters sake. Go to your
krep yeu amy did as he had bdden and
soon after the boy brought bottle Of champagne
proper moment during me 1s act The Original
upheld at the expense Of Mr.. seidls purs..
Jean and Edouard de Reszke write a letter in
! common in which they discuss the qualihca lions
| of a conductor and then say:
And in the case Of an operate work even this
| Is not all that is required OF the IDEAL conductor
| Here he must be IN sympathy win the singers
| he must understand their individual interpreted
it's full expression without however. detfacting
| In any way from the unity of the whole per
so wonderful. lie thoroughly imbued from his
boyhood, with the spirit Of the works he was des-
| tined 10 interpret. and he added to this in
| stinct which Is indeed rare among orchestral con-
ductOrs Of the modern school, understood sing
ing seemed TO know by intuition exactly what the
| singer would do In every case and always helped
by following the singer slaVishly. There are many
conductors who can follow a singer In a riarcandC
| such singers love 10 make at the close OF a
musical phrase, but there are few who know ex-
| actly how to catch up the rhythm again and re-
store the equilibrium. Seid did, without appar-
| entity affecting the shape OF the musical period
| And how dear SeidIs whole heart was in his
| work, What trouble he took every detail
| AT rehearsals he was conductor stage manager
| mechancian electrician all In one; and when II
| came to the performance the artists had only &c
look at his authoritative glance and inspiring beat
| 10 gain absolute confidence. and feel that they
| would be ably steered through any difficulty that
| might arise In the course OF our work with Seid
| our admiration for him soon grew TO warm affec-
| bic artist. who always gave Us invaluable as
sstancc and support IN all our work. but also a
very dear friend, who cnlivened many an otherwise
| weary hour for Us with his genial companiOnship
! We shall never forget him
| As has already been announced, the German
| Liederkranz 81 this city, Will celebrate tho
! Tooth anniversary Of the first public produc.
| ton OF Haydn's "Creaton" this evening AT Car
| negie Hall The solo singers are Nine. ClementinS
| de We're Evan williams and John G. Dempsey.
This week will witness the end OF the regular
season OF opera at the Metropolitan Opera House
| As might have been expected. there will be only
] repetitons but 1t will stnl be set down as sig
niacant that OF the eight representations which
will be given Uhree than the regular lisD five
will be devoted 10 Wagner. The regular gerform-