The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1900-11-18
srong scenes ana situations in the play
ma no small feature is the comedy.


- =
01oHE success OF the operate perform
ance given by the Seattle Operatic
Club at Germania hall last Thurs
day evening shows the need in Sc
aeue OF some suchs musical organization
tnAt VIII educate the public to seek music
TOT musfc's sake as a recreation; in other
words create what among grand opera
people IL termed the opera habit" or
locally applied, the music habit"
by force of habit, perhaps superin-
duced by vitiated taste or want of op-
portunities. the majority of amusement
seekers appear to gravitate toward en-
tertaanments nearest their understanding,
or perhaps to express it more clearly,
Wnere the least possible effort of the
mind Will be required to follow either
pay or players. This may account for the
popularity of so many meaningless farces
ana horse-play dramas as well as that
relic OF barbarfsm. the jingling sound OF
the enervescent rag-time coon songs
Like the oId-time Punch and Judy show.
these tickle the fancies for the time be-
ing. but are forgotten as quickly. as
heard. and serve no healthy purpose
Musieally speaking, the public needs a
sort or mental tonic something Ike
ginger, to arouse and create taste and
desire for vocal and instrumental har-
monies; place where, periodically. clean.
wholesome music could be heard sur
rounded by the same allurfng stage and
dramatic effects that popularize the lesser
class of plays
The concerts OF the present day do not
meet these broad requirements. They are
too much on the class and caste order too
classical, too stiff. too fussy. too formal
ana too dressy for the average man and
woman Of everyday life in search OF an
unconventional evenings entertainment.
The old recognized standard operas are.
with the majority of the people here to-
DAY. only memories of the past. They
have been so seldom heard as to be most
iy forgotten by the older people and are
practically unknown to the younger ones
When by chance an opera company OF
merit does come this far, II Is attended
more as social function than for the
qualification of taste for standard mu-
sic, cultivated or otherwise. 1t results in
the majority coming away tired. with
mental reservation OF WEAKNESS, and the
ever.ready lie on the lip OF Grand"
"Glorfous" Magnificent etc. to whom
soever may chance TO ask how they liked
II. To bring this revolution about a taste
for good music must be cultivated. not
alone among the cultivated, but among
the masses as well. just as It exists to-
day among the Germans. who are the
greatest students and lovers OF music of
all other nations. Hence any organization
that will start here with broad. liberal
foundation for cultivating the musical
taste Of the masses will prove a public
benefactor that Is sure to be rewarded
with good results artistically as well as
financially.
NVOT alone IN America but in Europe
I'M as we'll. has Edward Baxter Perry,
who gives one of his lecture rec1t-
ais at the Seattle theater on Thanksgiv-
ing eve, Wednesday. November %. made
decided hit. That greatest of all Ber-
lin musical authorities. the Times, pub
lished the following criticism of his drst
appearance in that city.
The attention of the audience was CEN
tered on Mr.. Perry's numbers, OF which
the opening Selection fsuficed to demon
strate that In him we have to deal, with
an artist of singular endowment. His
dominant charac eristic seems refinement,
though would not imply that he n lack
ing In more robust qualities; for his per-
'ormance proved him possessed OF force.
energy, rhythm and technique adequate
to the most exacting demands His tone
is unique. having something of the quality
of strnged instrument, circumstance
as rare as 1t Is effective. Mr.. Perry's
finger-tips seem uncommonly susceptible
to slightest tonal gradations, and he en-
ployed his advantage with incest discre-
ton In a group OF Chopin numbers at the
close OF the programme. He commands
all styles of touch. from mere arpeggio
whisperings to loudest tonal thunder.
His Interpretation of the Chopin Nocturne
was a gem OF refined musical taste and
phrasing.
oTToHE company PLAYING "Tennessee's
Partner at the Third Avenue the
alter this week is not made up of
superstitious players. The figure thirteen
is prominent in the makeup OF that or
ganization. Arthur C. Aston. the propri-
etor of the company, has thirteen letters
In his name The leading lady, Estha
Williams. and Jenny Corcoran, the In
genue, likewise thirteen. Miss Corcoran
plays Tennessee Kent. also thirteen. The
leading man. James NJ. Brophey, the
comedian. Percy Plunkett. the character
old woman. Annie Mortimer. all ise tllir-
teen letters In writing their names. or
the thirteen members OF the company
Fannie II. Curtis, James A. Pilling, Ed
win Fielding. are in the thirteen class.
This is the thirteenth week of the COM
pany's season. and their advance sale
proves that the number is not their hoo
doc.
YyUR F. W. ZIMMERMAN. one OF the
lyl latest acquisitions to the vocal
II vocal contingent OF Seattle, was
heard 10 splendid advantage at the con-
cert given last Thursday by he Seattle