The Montgomery advertiser., 1902-01-30

wont to listen to it without seeing the singers" This quaint individual used to say that music Is really intended for the ear only, whereas in concert rooms 1t is made to minister mainly to the eye, to accompany movements, not sen upon concluded that the first step in the way of rational reform would be to lower the lights and shut his eyes to the consequences and as been realized. first in Darmstadt and then in Frankfort -on- the Main. Experiments are about to be continued elsewhere. and the whole Fatherland Is divided into two hostile camps The arguments for and against the confided to the rublic-are as follows:
 A man goes to a concert to hear music But when he gets there he sees great deal more than he hears. and his attention Is distracted. The pillars, the statues. the lustres. all turn his thoughts away from the strains meant to soothe inspirit. Thatfis not as It ought to be, and yet 1t IS not by any means the worst He looks around at the ladies, many of whom come to be looked at (say those rude Ger mans). He sees the luxuriant tresses of one syfph-lke figure before him. and as he cannot catch a glimpse of her chal ming face, he tries to guess at the features. His neighbor. rich tradesman. is engaged in estimating the cost of the riviere of diamonds round her shapely neck A third worshipper of Ternsichore finds himself behind the sweetest thing in hats, and feels moved to exclain. like the Irishman in chapel
 Sure you wear just on purpose a bonnet so deep That l cant at your sweet purity face get a Oh: lave of that bonnet. Or else I'll lay on it The loss of my wandering sowl
 Now all these things were brought to the concert for the purpose of being seen; whero- as, people come primarily to hear. suddenly fact-and of the other, that they have not been listening to the sonata. Thus far the advo-
 The ladies' champions insist that. being gifted with eyes, we should use them to some good purpose. even in a concert hall. When a number of people foregather for a common object they ought at least to see each other. And. after all. the majority of the public are not hot nr conscientious than those who go to church. Moreover, some light must be given to the musicians in order that they may read the score, and this light in an otherwise dark room is painful to the eyes If, on the other hand. the person of the singer is hidden from view. as Wagner GOV cred up his orchestra: much of the effect Is marred. Lastly, it should not be forgotten that a good deal of modern music was written for the light. Hsydn's Seasons" for in stance, never intended to be performed in gloom. A cantene of Chopin might, 1t is true. affect us more powerfully in the gloam- at home. It. however, in spite of all these arguments, the lights are to be turned down, then. adds a German critic who might have hailed from Connemara. let the seats be turned round that our backs may face the or chestra
 On Tuesday evening last Professor Kwast and some other celebrated musicians gave a concert in Frankfurt in the dark The pro- gram was excellent. anu the gas bill nil One of the critics left the hall with eyeache before the second piece was performed, and some of the younger visitors waited in ecstasies cf delight till all over Another critic declares that the reform. to be successful, must be thorough. and the degrees of obscurity should be adjusted to the musical effects of each composition. For an allegro, therefore the room ought to ',e inundated with light for the finale twilight would \be the fitting accompa iment. while slow movement should be nIayed in absolute darkness Some of the ladies-only a minority. however, anu mostly the Inexperienced among them-were highly pleased wt:l the performance. The remarks Of other persons seated in darkness were in minor key and the general verdict seems to be that ,he experiment has fallen flat