The Wichita daily eagle. [volume] (Wichita, Kan.) 1890-1906, 1901-03-12

trenolos and arpeggtoS O the violin ac-
company a very strange sounding flute
tune. One feels transposed into tAs Inc
liaess OF an African night. hea-s those
mysterious and indeterminaois natural
sounds. Here Imagination and technique
combined produce an action which +
thrilling BY its splendid Characterization.
After Ada" comes. IN lSS7. -othe0o''
An interval OF fully sixteen years But
then this work again cha<actsrizes new
epoch. Terc Verdi has scaled the high
est summit that il was given him 70
reach during his lifetime The long train
ing through different styles vas neces-
sary N order 70 create that grand and
NOBLE view that characterizes This mag
nifcent work
TchaIkovsSy. in his Memories. CON-
plains that Verdi attained this height
only at such a late period. He thinks
this would have happened while his su-
agination stiH possessed thu easy fishs
Of youth. II he had al an ea1Ger agr
made the Acquaintance of The co1tewpor-
aneous dramatic masters OF other coun-
handy. But remember that Tchaiko-
vsky has stated his thought in very char
scteristic words S.H I csnnot agres
with him one cannot az the same time
possess youth and The acquired results OF
a long life. II order 20 produce "Othel-
10" Verdi had TO go through a long-con-
tinued transformation The assd maes-
tro mere turns up with a canaeity for
further development. for assimilation. for
universally that S. simply ASTONISHING.
And sure * is that ne. IN the absence o.
youth. shows a youthful spsrit aole TO
master the most violent passion OF this
tempestuous subject The cid Verdi Is
fully up 10 the situation. There IS Shag-
esperan demoaism in the music. And he
does not refrain from approaching such
a dangerous problem a. IS the compost
ton OF lagos grand monologue with its
dark atheistic philosophy % hfe and
death And what heishts has be not
reached in this very sceuet
Among the many remarkable things
about the insrumentat'os OF this O, e.
IS the employment Of the whole orcaes-
tral apparatus in order 20 produce q pan
isssno. But it IS a terrible pisnissimo'
The effect thereof IS certainly new %
not remember having come across il with
any other moestro
II seems Is u ANA aHl EtlEA4H
fought for supremacy in vordfs prodac-
ton menuoned the Egyptian coloring
of Aida But wtth the same geuialitr
Verdi has struck another tone FL the
prelude 70 the last act ~ "OtheIo This
opera which under the genial leadership
OF John vvendssn is splenddly produced
in the Royal Theater Of Copenhagen. has
in Blr. r. Brunn capable impersonator
OF tbs title part I often went 20 see
this splendid work and eo]oyed 81 Inn
mensely. Bat when this prelude TO che
last act was intonated I always felt a
couple Of musicians eyes staring inQulr-
ingly at me from the orchestra o. from
the audience around me. 7 wanted to
find out about il. and learned that people
thought that Verdi here showed an lnti-
mate acquaintance VdSh modern Norwer-
ian musical art. Whether that IS so
am unable 70 tell But that Verdi has
known the Norwegian popular songs. 7
consider as given from this prelude. II
Is q touching melancholy piece where
the maestro IN an admirable manner
makes the wood wind paint Desdemona's
forebodinss CT death
Were I % enter upon a lengthy char
scteristie OF the beauty OF this wurk
would ne5er be done. "Otheflo" VIII
with aida" always stand as a mile
stone not only in Verdt's production hut
IN that Of the whole dramatic art q our
time