The Houston daily post. [volume] (Houston, Tex.) 1886-1903, 1901-10-27

sns y pp,Siile Hutchinson, oom 20,
nse5tt. telephone No. llof.
r~eyerberate In the mem
who heard the Spanish 0c-
usrk Unfortunately the i'm
~ eiyen In the report Of the
I, NAT Senior Rocahruna, violin
u ,,,ed with the brllliancy of his
II the expense Of faithfulness
.uooser he undertook to interpret.
erles "pecayi" for his perform
m night convinced her that the
i his left hand-which is the
was as nothing TO the magic of
4, A,pd-which is the artist.
m,yrellonsly those men did play
uerrarlan Rhnpsodie No, q
nsstructed these rhapsodies out
Mt.sones Of the Magyars, and in
snept the composer frequently
,..sa the Characteristic performances
an receive at the hands of the
dam whom he learned them. The
i, nlef that the Magyar melodies are
|, orlrln is erroneous, The songs
rhythmlcal popularity which is
4, the direct product Of the Mag
BAGGAGE. =,
\, the o%ctettle played Snint-Saens'
1, uacabre' u.d anybody recall the
1t the bottom Of the poem which
ns,e illustrates? 1t is Death as a
+a seated on a tombstone playing a
sd r%leefully cracking his bony heels
ta the marble, To produce this eff
ne composer used the bartarous xylo.
These Spanish artists on Monday
Brought out this little point by tap
u the body Of the fiddle with the tip
/ bow,
& question most often asked. after the
A mement that Houstonians were TO
n IN opportunity to hear the Grau com
10 %"Lohengrin," was: ''Who Is 90.
b slng;"
1t k a pertinent question, but, as this
. tdnma is n Of Wagner's, it would
nost equally pertinent to inquire CON
hg the number of pieces and the per
h Of the orchestra.
opera, before Wagner's evolution of
4 %snctaral principles of his drama-muslc
Eans was simply a concert in costume;
sa sheaf of beautiful songs and high
..4hnfiphnd thnp,ne y,or, 90, los. .I,u,
anaected or interdcpendent and the
4 singer was as a statue to which the
espa furnished the pedestal.
rofalng 10 Wagner's a~rchitectonic style
gdccdramatic writing, the Importance
BE- solo singer in his artlsticnily sym
|Hal structure, is sometimes greater,
atener less, than that of the orchestra
which accompanies her or him.
~
|h'iaer query sometimes heard Isl; why
|iAey sing 1t in Germanf'
knows how impossible it is
%Inaslate poetry into any other language.
ihe poetry is welded to music. the
leulty Is doubled, because the translator
f1peeied not only to make his verse
~, metrical and Ineligible, but to
70 le word accents, as they7t do for
are ID the operett4S of Gilbert and Sui
y Wm ohuhert songs. a master poet
. was az me same time II master mu'
au hlghl make an acceptable translu-
u an qpefa fosohk, but no such twin
~ aas even condeSccnded to undertake
~
Z sler{ opera should be sung in the text
AlCa " was written; and especially is
Imperative concerning Wagner's operas.
wrote his oWu text books and they
poems OF marvellous strength AMI
W.,
ag %5sa pathetic enough at the time, it
himself olce told about the critics to
~ ~ submitted his manuscript music
w before he had conquered and ION
fi us world. lie s0id: professional
,esns admitted my poetic talent, poets
~
adam Shuman-Heiuk Of lonp-estobIished
Norld.uile f,n,a I'm s
~ IN the performance OF "Lohengrin'
Y VIII be given here on November 4.
lIp Oynpvl.,I. L.