The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1902-05-03
sEIDL AS A DIscIPL1NARIAN.
His Presence Demanded Attention
From All.

WAS Anton Seidl a strict discipline
rian?" Richard SchlieWen, at one time
first viola player in the orchestra at the
Metropolitan opera house, puts that
question, and answers it in a recent
number of the StaatSzeitung-
More so than any other conductor,
says SchlieWen. Discipline was, in his
case, so completely taken for granted
that the word itself was never mention
ed. By this mean that all who had to
play under him looked on him with so
much respect Ga mixture of fear and ad-
miratiOn) that no one would have dared
to be tardy, Indifferent, or careless.
Whereas other conductors often have to
use their voice repeatedly and rap on
the desk to establish quiet at a rehearsal
and to stop the chaotic preludizing, all
that Seidl had to do was to appear at
his desk If there was any untimely talk
to it Immediately. And when he raised
his hands to command general atten-
ton no one, from the thousand-dOllar-
a-night prima donna to the last prop
erty man, dared to refuse it,
AS for being late at q Seidl perform
ance, no musician ever dreamed Of such
a thing. Nevertheless. it was Mr.. Schlie-
Wens ill-luck to be thirty-twO minutes
behind time one evening when he was
absolutely essential. He had left his
house. as usual, in ample time to reach
the Metropolitan, without knowing, or
caring, what the opera was to be. Sud
elevated train stopped, and there was
considerable delay He took it coolly
until a man next to him said to his
neighbOr, We'll, never mind we have
our newspap ers, even if we do miss
The Huguenots.' On hearing that
word, Schliewen jumped from his seat
like a mailman. ran along the track.
crawled down the first ladder. hailed a
cab, and told the driver to take him full
speed to the opera house. THE Hugue-
nots" has an important viola solo short
~ after the overture, and he knew there
was no one else who could play it. He
arrived the moment the solo was due,
and had to play it standing, as there
was not time for him to take his seat.
He heard afterwards that Seidl had
commenced the overture, and then, sud
denly noticing the vacant seat,ha stop
ped and rushed back to the stage with
furious mien, while some of the hear
ers Kissed at the interruption. After
waiting nearly half an hour he had come
back pale as death, and resumed the
When the act was over. the other
musicians congratulated Schliewen on
having played particularly well; but
don t go near the old man or you'll be a
cOrpSet' But there was Seidl COM
handing him to his room. When they
got there the conductor opened up a
perfect vOlley of abuse raving like a
madman and upsetting the table in his
excitement. The poor musician tried to
explain that he was innocent-that there
had been collision; but Seidl was i'm
placable and began again, when sud-
denly a curtain parted. a woman APP
peared. and said, But AntOni" 1t was
his wife. She forced him into a seat
stroked his hair. and soothed him with
her sweet voice. Presently Seidl spoke
again. in almost inaudible tones: NO,
I shall not discharge you. You have
never been late before. and never again
viii be in all your life. And-and-you
played we'll: better than ever-yes, you
are an artist And now go back to your
place But. great God, why did you dc
this to me2"