New-York tribune., 1900-03-26

Whether or not Nine. Sennbrich sang "Ungedud"
100 Iast at her recent recital is question which
II is not necessary to discuss. Many questions of
tempo are IN a peculiar degree personal and
tingent the physical and mental condition of
the listener as well as the performer. To The
Trioune's reviewer IT seemed that Nine Sembreh
sang the song slower than IT is generally sung
1n1pauence Is the title OF the song, and impatient
iE its movement. This inpa tience is deIineated
with marvellous truthfulness in the eager push
Ing, iambic rhythm adopted by the composer
Tor his melody, and the restless triplet accom-
paniHlenf To perform this music in anything. like
moderate tempo would be TO rob II of it's urinary
characteristic The 'exultant passion" of which
our correspondent speaks is not the sole content
oi either words or music. The mood throughout,
except in the refrain (when the COMPOSER drons
his painting, palpitatng ardent hreathIess noatar
Ter sweeping hexameter flourish is that Of i'm
patience The words of the poem nus- ba
read as part Of the tragic story Of which
they form a part. The youthful unfIIerss haar4
was in a fernent- II was consumed ,,,..
love for the fair maid Of the mill hut sb
mad given no sign OF a sympathetic feeling
NO" MS love grew restless Of restraint and Ionged
for expression He thought OF a thousand VS.
IL whlch ne would like to publish his passion NV
heart is yours, and shall be foreyer,-th,1s
ne formulated the sentiment. and he ionged m
carve II IN every tree, engrave II every pebble
plant it in every garden with seeds Of the ou,cI,
growing cress. write II every BIT OF white pa-a-
He wanted &c train a young starting mi 81 sbo,Ia
De able to speak in the modulations of his voice
ao the nerce eagerness Of his heart ard then send
II Iorth to sing through the maids lattice: MY
heart is yours and yours It shall be foreverr' rIa
yearned to place the words a burden upon the
morning breeze. to send them rustIing through the
grove. 10 paint them the smiling face OF every
mower, 70 watt them 10 the maid on perfumes
wings-'My heart IS yours and yours il shall be
forever" He wondered that the waves Of the
brook, which might, If they chose carry such an
evangel as his. should be content TO turn mill
wheels and ne marvelled, somewhat peevishIy,
that that which he felt might be seen in his ewes
perceived in the hot glow Of his cheeks. read off
his dumb lips and heard in his every breath should
not have been discovered by the maid who had
won his heart and was 10 have It forever! There
is the poem, and for IT Sch lbert found marvel
lous musical investiture. But II is one that Will
not brook moderation in utterance It must go
hOt-foot, and with only petty petulance in the
second and fourth stanzas to mediate between its
impatient eagerness in the and its pro-
CLAIMANT tubilation in the refrain.
We have class Of critics nowadays who hEv-
ing nothing say about a composition try to
make good deficiency which exists only in the
imagination Of themselves and their employers by
telling the world how much or how little or not
all their souls palptated while listening to Ger
tain music. To all such the discussion of tempt is
infinitely amusing Following in their footsteps
The Evening Post of this city recently attempted
a fling its light footed. frolicsome way at
those who held watches Mr.. SeidI when he
played Beethoven's music and condemned him per
n etronome Something OF this kind was "the
Posts meaning. Now. If watches were held on
Mr SeidI it was only because his perversion of
Beethoven's music made ii a laudable subject of
curiosity TO learn how far conductor could stray,
not only from tradition and also the obvious spirit
of the music but Beethoven's express directions
and vet win the praise OF critics whose opinions
those OF the men they admire. and who care
for those opinions 0hey being easily obtainabie)
than for the wishes OF the composer. though these
be obvious enough 10 a 5ympathe student The
Intellectual process OF these is. indeed. ex
tremey simple and economical OF brain labor: II
Ike Wagner Wagner did Ike Brahms ergo.
do not like Brahms" But this is little to the pur
pose and is advanced here simply to explain that
II we appeal finally, composers directions
as 70 the manner IN which ne conceived that a
eomposftion ought to be played, we do so IN the
belief that he knew what he wanted and was a
competent Judge IN the matter, as against
ALI bu- the new critics." VINO think and
proclaim that whether It be Shakespeare or
Beethoven who in their theme & Is OF them
selves that the world wishes 20 hear them
discourse Therefore, IN conclusion a word
on the subject ot the proper tempo OF ChseouIa
from Schubert himself IN his son6-cycie Die
schsne rnauerin" as indeed, IN his vocal WORKS
ar a rule Schubert used German time designations
tusteed O. the conventional Italian, be mas -FOUR
notifications for "g1auhwind" which Is the eGhiva-
lent or .prssto" TEsy are ''InAssig. nicht zu'
,.ztesaAca' and "e,wEe." The positive form
.gesehrind' is qualified 80 foilows' Aassis
eeses, wind" that IT, moderately fast ncht zu
geschwsnd" tea fast; "ziomiieh seschwino'
rather fast, and rsiNas ssaGawind, somewhat
fast The last s the first modification OF tho posi-