The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-12-28
Music AND MUSICIANS.

Prima donnas are not at all fond Of posing
before the public in unpoetic attitudes.
They are well aware of the value OF the
mysterious veil of sentiment with which
a wondering world surrounds them. They
do rot habitually exhibit themselves in
places accessible to the mass. nor do they
invite publication of the actual details OF
their daily life. They do not, of course.
object to the romantic tales concocted by
the purveyors OF the continual-exc cite ment
journals, for these stories only serve to
add to the public mystifcation.
II was, therefore, proof positive OF the
genuineness of the account OF Nine. SEM
brichs indisposition on Wednesday night
at the opera that such cause as that given
for il was allowed to reach the public through
the medium OF the newspapers. The
reason why the singer was willing to have
the truth told In this instance was that she
preferred to have the facts known rather
than to have the public suspect that she
was vocally In difficulties. Her voice was
in perfect condition. but the plain truth
was that she was unable to don her costume.
And that is why she did not appear.
John Runciman. the unique musical
essayist of the Saturday Rerier. is again
writing personal criticism. He has heard
Elm Heldenleben" and has discovered
Richard Strauss. He does not push the
Munich writer contemptuously aside as
he did Brahms. He deprecates the fact
that the Strauss boom was manufactured
in America, but he is honest enough to
acknowledge that the news of the existence
OF this new force-or curiosity-in music
reached London from this side OF the
Atlantic.
R,r ko NJ
Elm Hedenleben" is wondrously compli-
Gated and that its performance required
the completest orchest ra heard in London
in years Then he says he would like to
know whether all this was necessary.
Could not things have been said in a simpler
what indistinctly he replies: On the whole
I am inclined to answer. yes. There are
pages and pages which mean absolutely
nothing to me; and on the other hand there
are pages full of expressive music and
passages touched with the true touch of
magic that, changes all things into things
of beauty"
This is a startling statement in the pures,
a. vie OF the new personal criticism Tie
world il invited to observe how this over
whelrning piece OF orchestral technic af-
fected Mr.. John Runcin,an. There were
pages which meant nothing to him. Mature
must have had a CONFUSION, for she abhors
a vacuum. Other pages could change oil
things into things of beauty. What a pity
they did not impress their beauty so deeply
upon Mr.. Runciman that he could Tor
a moment cease from his everlasting
Brahminical contemplation Of himself.
In tho course Of some comments on the
greatness Of Mozart and the inability Of
persons brought up on Wagner and Tschai-
kowsky to appreciate the simple beauty and
classic purity of his style. THE SUNS
musical reporter said: But no one lectures
on Mozart" To employ the favorite
euphemism Of certain editorial pages, 81,
would seem" that any ono acquainted with
the dongs Of the musical world might
understand this reference to the solemn
Wagner lecturer with his explanation Of the
recondite significance Of empty f1fths,
and his piano Identification Of the labelled
themes Of each score.
Rut a gentleman who will, II esged on
TO II. lecture to you on anything In music
from the piper who played before Moses
TO the cross relations in ALSO Sprach Tara.
thustra.' promptly sent the reporter a
circular Of his lectures. showing that at
the proper place in a historical course
and the Classic Style in Opera. This piece
Of information gave the said reporter
slight attack Of spring lassitude. because
for more years than he cared to recall he
himself had been lecturing TO history classes
about Mozart. But he never tried the ex.
pertinent Of giving a Mozart course in a
public place-say Days Theatre with
pinno illustrations. Perhaps the other man
will tackle that job.
wilhelm Gericke, conductor Of the Boston
Symphony Orchestra. has become a writer
on music. That Is to say. he had an art ,cle
In the Boston journal Of last Sunday. It
was interesting, because II contained an
open confession Of musical predictions
which have long revealed themselves in
this conductors art. Mr.. Gericke wrote:
an these days OF noise and orchestral
turmoil II In pleasure to turn back to the
works OF the classce to find In them peace,
contentment and real beauty of form and
expression" He goes on to declare. as
others have declared, that IL must be be-
cause Of the constant indulgence in highly
spiced modern music that the present
generation has no fondness for the .se-
reuely beautiful OF the older writer's He
laments the sweet intimacy Of the gentle