New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-06-03
can affirm from a letter in which Levi spoke of
compositions he at work on in 1898
AN ENTHUSIASTIC WORKER


AN ENTHUSIASTIC WORKER
His work at the Rotterdam Opera. to which he
was recommended by his master, Vincenz I.ach-
ner, made his first reputation. There he wrought
a complete reform, wiping the old routine
ways and putting artistic fire and enthusiasm in
their place. His views to the demands on a
conductor We're indicated after his call to Karls-
ruhe in letter he to Gernsheim who had
recommended an inexperienced man as his sue
cessor in Rotterdam: For years 1 studied their
roles with the solo singers. directed rehearsas
of the chorusS played the drums in the orchestra
before 1 ventured stand at the conductors desk
and did all that under the eye of like
Lachner." Levi always upheld the saying art
with power
In 1863 Gernshem met Levi In Karlsruhe where
he was Court Kappellmeister at the rehearsal of
the Angemeiner Deutscher Musikverein, sitting
with Brahms in the auditorium That was the be-
ginning of Lewis Brahms period. The three ex-
perenced a serio-comic adventure in the evening
Having sat till the small hours drinking beer in
the German fashion, they emerged into the sum-
mer night without a thought of seeking their beds
but rather of making uproarous progress
through the little citys quiet till watch
man appeared and gathered them all in vaga-
bonds disturbing the peace. When Levi declared
himself at the station house be the Court KapelI-
meister the official in charge refused to believe
him till his identity established by a friend
reused from his bed for that purpose
A LOVER OF BRAHMS's MUSIC
Lewis youthful enthusiasm for Brahms in his
Karlsruhe period boundless. He played for
Gernsheim from memory a series of Brahms's
works not yet published, and In subsequent years
they passed whole nights in similar enjoyment In
August. 1875 Gernsheim met him once just after
the great Bayreuth rehearsas for the ''Nbelungen'
Se snd g sanae6 LeH Via = s n
impression they had made. How he described the
interlude in B fiat was played, depicting the break
Of Of day in the first act of Gotterdammerung Even
that he at once asked the orchestra to repeat
chambers. where he played through the newest
things Of Brahms that he had in manuscript
the original version had chorus Joined with the
orchestra in the postlude- This Brahms afterward
erased at Lewis advice giving the final word to
the orchestra alone
form Of his work to please Levi was in the minor
in that form At Levis decentralization Brahms
The occasion just mentioned says Gernsheim' was
the last time he ever Levi under the influence
him much cooled in this direction: having entered
he could no longer aPprecate the more Intimate
qualities of Brahms's art. Besides this. his health
1855 he could write that he had no desire to
take part in musical performances His retirement
however. did not occur till 1886.
HIS MANNER AS A CONDUCTOR
The critic of the 'Berner Tageblatt" describes
the first time he Levi conduct: 1t was at
performance of Der Fliegende H0ander" in
Munich. He little of friendly counte-
nance. sparsely covered head and & gray full
beard, in whose sharply chseled the dark eyes
flashed and betrayed rare intelligence. He
chatted pleasantly with the members OF the
chestra but no sooner had he taken the
ductor's stick than his whole appearance changed.
strenuous energy manifested that had all
about him In its power He reproduced the wild
demoniac quality, the northern color and the deep
lyrical vein OF the work without much outward
pathos His motions often only hint pre-
else. but slight often minute in extent. A certain
mingling of bigness and limitless tenderness was
the charm of his conducting A self contained but
powerful passion. fine feeling for grace and per-
fecton of form his characteristics He had
the poetic gift: everything seemed penetrated by
his sympathy. The lyrical element had the upper
hand. however. and a fine inteilectuality There
fore. Levi was unsurpassed interpreter OF the
French. not least OF all. of Mozart. The mighty
tragic element in Wagner he brought close to
humanity. He was poet at the conductors desk.