The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-11-30
NtSIC AND M SI(IlNS.

MtSC AND NtSICIiNS.
just exactly where the most delicate
and discrimina,ive musical taste exists
in these United States il a question that
| might be exceedingly difficult to answer.
II probably never will be answered to the
satisfaction of any one person or set of
persons. Boston long ago decided that
it was the seat of musical intelligence in
this large and partly explored country.
II il easy for Boston to make such "A deci-
sion, because when its claim j. disputed
by san Francisco, 1t retorts: Where Is
your PERMANENT orchestral!
san Francisco. however, has it, own
little opera and II Is probably quite as good
"a that of the Castle square Opera Com
pany, which Boston newspapers praise
more than they do MIR. Graus organiza-
| ton, IL WAS reserved for Nine Seinhrch
| in the course of her recent tour OF song
| rectals TO learn something about Tn" real
location of musical taste IN this land. When
| she sang in the huge Auditorium in Chi
Cago she thought that her voice would never
reach the yawnIng caverns IN the rear of
| the orchestra. To her amazemeut she had
to repeat Sohumann's -Nussbaum." one
of the most delicate of her songs, and the
audience really wished her Ia sing II a third
time.
But her greatest surprise reached her in
Nashville There she was actually forced
to sing Patron, das macht der Wind" an
air from cantata BY Bach. three times,
While the audience vas vOciferousy de-
mandinX the third delivery, she turned to
her accompanied and said What is this?
Bach three time~, and in Nashville" SO
To Nashville must he warded the palm
| for exclusive musical taste-wh.n SEM
brich sings.
Some people think IL strange that Daniel
Frohman, "A theatrical manager. should
go into the management Of musical per-
formers, The truth il that MIR Frohrnan
L. one OF the most devoted and sincere lovers
Of good music in this community There
| are few among even tn" patrons Of the
kneiscl Quartrttc or the Boston SYMPHONY
| Orchestra Mo know NOR" about the aesthetic
| side of musical art than Daniel trohman.
For years he has been "a regular but un-
obtru>lv" attendant at the best concerts
and he always goes 10 the opera when there
| Is anything especially worth hearing. He
| shows taste and discrimination by ~tayiug
| away when only fashion bids To 60. He
| mas only one musical weakness and that l.
Tor certain -'mi-aut umatiC instrument .
| which Ii" operates with a--iduity and as
| tonlshing muscular energy
IL il generally believed that singers do
| not eat anything before singing. hut tina,
| afterward they sit down to great supper-
| or course they don't do auvthing of the
sort, for they all have a mortal horror of
growing fat. But inst rlmental performers
| always, or nearly always, eat after their
| concerts. They do not ga, heavily before
! performing, for the physical relaxation
| and nervous calm which follow hearty meals
| are unfavorable to the preservation of that
highly sensitive state necessary to delicate
| performance.
But after the show" they attend To bust
ness. plac" in Fourteenth street Is regu-
| larry freqnented by Mr.. Gerickc, conduct or
OF the Boston symphony OrChest ra after
! the BROOKLYN concerts OF Ia" organization
| together with his wife. Mr. knelsel two or
| tire" other members of the orchestra and
| certain acquaintance who enjoy the de-
| hRhtiul society OF these artists
| Alter each kneisel Q Iartct concert the
| members OF IN" organization. together with
| the soloist OF the evening, repair To rosor,
| in Fort y-seCond street and eat a very sub
| staftlai meal. The usual accompaniment
| OF the meal is imported beer Cigars and
the midnight train for Bost on follow
The keeping of the records Of the musical
| activities Of New York is no easy task
| Some Of the chroniclcrs Of the daily press
! elect to avoid the undertaking, which
simplifes their lives greatly. But occa-
sionaiy some one accepts the statements
| OF programmes az gospel without looking
up the records, and then there il trouble
For instance, at the first concert of Young
| MIR kocian, Julie Gcy"r, "A pianist, PLAYED
the Weber "Concertst0 Some news
| papers received in good faith the asser-
| ton Of the manager or the press agent tha,
| ms was her first appearance. The truth
- that Miss Goy'r made her debut at Men
| delssohn Hall IN conccr, of her own on
| April >, 1900 She had the assistance of
| Gus'avc Dannrruther violnist, and Elsa
| Ru"gger. the cello virtuoso, with whom
she played the Rubnstein trio in b fiat.
| She had been a pupil Of Rafael JosefYv.
| ana al that time gave much promise. She
| played with good tone, with color, with
| clear phrasing and general INTEL gence
| She was regarded as exceptionally promis-
| ing just what she has been doing in the
| interval is not known. but she has certainly
| not mad" the sort Of progress she should
| have made.
In addition 10 all the indi~posi' ions which
/ upset Thursday nights performance Of
| Aida" ~ tn" opera house there was a sma II
| incident which caused mild wonder among
| thoughtful opera goer~. Al the end Of
| h" grand finale Of the second act Nine.
| Eames rushed of the stage al "A sprnting
| pace just as III" certain was descending
| For the recall Mr.. de march, had 10 go and
| get her. Then she ran of again faster than
| before.
| When she came on again for another rcca II
| this tawny Egyptian slave carried "A fine,
| white handkerchief Nor" than that, she
| pressed II To her eyes, and sympathetic
| auditors thought she had been overcom" by
! her emotions and burst into tears. Nothing
| Of the sort. She had burst into porspirat ion
! and II had carried the coppery stains down
| into her eyes Stage Colors smart dread-
| fully and they can do permanent injury To
the eyes. Hence handkerchief in Egypt,