The age-herald., 1900-04-29

And indiscriminating persons of the class to which refer often go further than to speak of musicians barely above mediocri- ty as great artists. They actually praise musical performance that is below medi- ocrity; that is absolutely devoid of any merit whatsoever. In the musical set in most southern cities are found many men and women of acumen. But certain amount of critical judgment should be the rule, and not the exception-among cultured persons.
 Power of Discrimination
 No one would expect every ardent music lover to have the same degree of taste or the same power of discrimination. Only the few will ever possess the critical fac- ulty in its highest development But there is no excuse anywhere for extravagant comment unless one be listening to a Patti, Melba, a Calve, a Sembrich, a Rubinstein, Paderewski, a De Pachmann. Paganini, or Thomas orchestra Indis- criminate praise, overlaid with superla- tives, is not only inconsistent with com mon sense, but it is positively harmful to the cause of art. I have written on this line before, but the subject is one that de- mands repeated attention, certainly until all music lovers learn to use language In moderation and deny forever the lan- guage of hyperbole.
 The principal topic in local musical cir cles Is the May festival. Every one ex- presses delight at the programmes. Every person meet says 1t would be difficult to improve on a single one of the three. MT. Guckenberger has unquestionaby made hit in the selections to be rendered next month. It Is the case usually that in fes- tival programmes one or two out of three or four concerts can be properly called brilliant. It rarely happens that all of the programmes can be so styled. But for our Birmingham festival each of the three is varied and brilliant and is in the best use of the word, popular. Take the music set down for the opening night. Several schools or varieties are represented, but not single number on the bill is dry, heavy or in any way over the heads of music lovers composing an average au- dience. Of strictly classic numbers there are two-Weber's "Jubel' overture and ex- cerpts from Mendelssohns "Elijah" for chorus, solosists and orchestra. While the "Jubel' is superbly classic, 1t is also a popular programme piece, played often by the military bands in the parks of large cities as by symphony orchestras in con- cert auditoriums. It is noble and stirring and is a splendid opening number. At last years festival No. 1 on the opening night was Goldmark's "Sakuntala" over ture, rich and melodic, but not a work that every one could follow easily at first hearing. "JubeP' is more classic than 'Sakuntala," but it is easier to under stand. On this same programme are two solos by Campanari-one joyous church piece and the other the most virile song in Verdi's "Falstaff." Of orchestral gems in the lighter vein we are to hear two Hungarian dances by Brhams, the "Em- peror'' waltz the most beautiful of all of Strauss beautiful waltzes; Dance of the Sylphs' and the "Razoozy' march by Ber- lioz What greater variety could one de- sire? The other programmes of the fes- tival are equally as attractive.
 Popular Music
 Some one recently asked Theodore Thom- as for a definition of popular music. The famous conductor replied that popular music was familiar music. By way of il- 1ustration he gave a list of many well known classic works, which he called pop ular because they were often heard; the people were familiar with them and loved