The sun., 1901-03-30
YEsTERDAY'S Music.
Last Philharmonic Rehearssl-The De Rssnkos
and Ternina In "Lohcngrtn."

NO mask! No mask" cries the terrified
Camilla in The King In Yellow As we
may remember, Robert W Chambers re-
lates the tale Of a terrible play that poisons
the mind Of its readers There are many
TO whom Richa ri Strauss tone poem. I'm
Heldenleben." proves a. musically baneful
1t was repeatedly reque-t-at the sixth
and last public rehearsal Of the Philharmonic
Society In Carnegie Hall yesterday after
noon Before the battle scene was finished
some dozen or so Of persons left the build-
ing This was n clear case OF nerves And
no wonder What many have thought and
still think Ia not true, Strauss wears no mask
his own musical lneaments convulsed In
/ passions grmace. exultant with grandlose
/ dreams or distorted by deadly rage, are
| the naked expression Of his fantastic and
! morbid soul And to the orthodox. his con-
tempt for clear tonaties. his mockery OF
| the very harmonic foundations Of the art,
| his Juggling with bizarre rhythms-in n
word his avoidance Of the normal. the decent,
| the facile the SNUG and the unoreinaI, is.
| as preat a crime against ethics a. the lucidly
| insane proclamatons Of the Master Immoral
| ist, Friedrich Netzsche
| Yet further hea rings convince one regarding g
| Strauss's sincerity. He Ia working out his
own artistic salvation on his premeditated
| own lines. he Is the solitary soul OF Hauptmann
md he il doomed to mockery until he 10 un-
| dsrstood And he WAS nearer our under
| standing Yesterday than at any previous
| time for under MIR Emil Paurs enthusiastic
| conducting the Philharmonic band played
with remarkable force. fire and unanimity.
The rough places Of that tumultuous and
heroic conflict were almost made smooth
vero certainly easier to grasp and the swing
| of the opening section. the swing and breadth,
were sinvularly inspiring Richard Strauss
| in this y fat symphony or symphonic poem
| owes no more TO Richard Wagner than dlu
| Beet hoven to Mozart and Haydn when he
pcnned his own Erolca. -u,..
| magnetism of the man from Munich. ne IS
| -tll young. stll IN his storm ana stress period
| v hen the Time Of Clarlii cation comes. strauss
| in this final analysis may emerge very
| b. = man iIs "Ilcros Lie, mas lts ugiy
| spots critics and criticism are Qolectmeo
| In cruelty sardonic iaShlon-a anltha' oatue-
| nrld Will remain Tor tins gene atlon' eltheI
| h.sr b -utal noise or else the forefront OF
| the higher Gstnetcism IN music one way
| o. the other. IL matters little the Reputation
of strauss will not stand o, all on THIS poem
| ne has written othe :, $50 Spra.h "a bs a.
| thustra," and Death and Apotheo1t, Inc
| main thing to record ~ the 9Ne,wh einl = !
| Immersion of power, anarchisuc u you Will
| tb,t in'or,rs Fin Held nleben." And all
| Wv ~ IN. 'n. a s,u,sttng Is the discovery that
| this pied Piper Of dreams wears no alIl9ut
| musical mask-his OWNS tragic ana sig
"a" Inferno Of music is paved with the in
| toution- of conductors and singers WHO nave
attempted to transpoSe TO the Key ol we u"it
| cert room eycarpts from the wagner music
| dramn Wngncr's original conception - ;,
| scenic that nothing seems more ABSURD to "
than the spectacle of tan eehIlslhsn %tnI m W.
! mn Intense look eyeglasses and tr0ck coat
| doclaimIng his farewell 10 Brhannuit, ahu
later summoning with d. Wofdn stamp th,
nigkernE god of nrEI Ls'G much o more % con- on
| vincIug The "Nadweben from oitH
fried" Yesterday afternoon sounded Ik'
sublimated hve-hnger eNerGises SCENE zee mH1 1,I ~
Is tniS and one vainly gazed al"i' ior 'ho S'"
What Ilr Henry Edward Krehbiel so hap
rilv calls the "muscularity' OF tne fI,iha, a,
mouic orchcstra's playing, was not ansent
but in the Wagner numbers, quality oiTunc M G
tiOn, eloquence, poetry al We're iaoh1ns
There was more mn Ile nnn.red ornn ,nd hron gf
sheer weight, not because OF It's potent mes
| sage. -, -, L.. ,--.,,a,,hI =.
serregate anv one of its various chors anC
touol commonplace stalks about Tho WOOD
wind Yesterday was disCourayingly mediocre
In the, Wagner numberS VOC ora" u Wwoasipg asEey
| Of S,c0frie d, Theodore Bertram sang IN
solo parts is his peculiar way He was II
However. with an excellent record TO IL
crrIit for the son-which closes this even
ing at Carnegie HALT were an ungraclou
! tpsk 10 harm upon the very patent deiects o
our only permanent orchestra Emil Pau
| has aguln proved his great qualities ~ con
ductor and 10 him j. the PhiIharinohic SoCel'
| beholdpn for its artistic suCce~sos oi the pas
se,-on And this statement but phrases In
! mild manner the opinion OF New ! orh lnusl
! lovers so let us hope for more lauI,les
/ performances during the season oi 1901
nhengrin" WINS sung for the last tim
this season in the Metropolitan Opera Hous
| Inst night The cast Included the names
Jean de Res1kc Edouard de Reszke. Mum
mann, David Bi1pham, SChumann; Hem
and Mlka Ternina Walter DamroSch con
durtod The presentation was an eNcellen
| nne and the audience was one of the large-
| of the season, and this too despite the per
| fOrmance was an extra on'--tor the reglIa
season closed THURSDAY nlrht IL was n
Ternina, Schumann- lieink and Blspham al
| said good-by In more or less pulchritude O
ut,arSnce lean de Reszke was prodiga
| of his voice for II was in capital Condltot
aud the faithful army of hlS admirers wa
made happv by his superlatively artlstl
,i"ging Edouard de Reszke came IN 70
his share Of the evenings honors and flower
Of which his brother Jean and Mllka Ternin
bore away the major portion; Inc Croatla
enger's Eisa was Hs psychologcaly SUM-
as ever and her singing left nothing 70 .
Nine Schumann- -HeInk was, the ,Ortruc
and not even tho NaRnerinn ethics ot publl
conduct restrained the spontaneous appiauN
nftcr hor duo with Tcirnmund, Mr. Bisphan
when the curtain had fallen n on me sii,,e NE
ration the principals were compelled 2
thundprOus app1uSe to cross ana recro
: ! the stage and in a blaze OF glory Jean q
,, , Rc.7ke bade his worshippers du Wiederseh'