davidaulloa/AmericanStories huggingface dataset:
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19

when 7 have been one of the players.
One conductor made me an elegant d.
lettante, decanting upon the beautiful
tracery of the arabesques in the work
ing out of a theme; and another made
me passionate, suffering. throbbing
heart. beating myself out in the pain of
the 'Pathetique.' Still another drove me
with irresistible speed across vast yawn-
ing chasms of sound, which swirled be-
meath me like the mad sandstorms of the
desert. infuriate, overwhelming. yet hot
and dry, Oh, yes. father, all these things
have felt and known"
Hungarian descent has thee in it's
pitiless grip. my child OF nature. Thoa
art a poet"
"A poet! Good lack, 1 am a viola
playeri"
"One may be a cobbler and yet a poet.
Forget not Hans Sachs.''
Which one, father? Bertram or Van
Rooy7''
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Joy That Is Too Great.

The JOY of It is almost too much for
some. Julien, whose music was but
tinkling brass and twiddling strings.
used to sink exhausted into his chair at
the close of each number. Berlioz en-
ioyed the experience with a fierce 10Y.
which swinburne would Lave called keen
like pain How he gloated over the
HungaTians when they heard with disap
pointment his mild introduction of their
pet 'Racoezy Iudulo' How he laughed in
his sleeve at them as he thought Of the
forte he was going TO give them little
later. And how ne thrilled with rapture
when that forte came and the hall filled
with iDlescribable noises. and his friend
Mr. Howarth. raved in his box like one
And what Of the conductor who di-
reefs the performance Of some other
mans work. father"
My son, this state depends upon the
depth and sensitiveness of his own ma
ture. How much does he perceive? How
much does be really know How much
is he capable OF feeling in the work Of
that other man? Have you not noticed
great differences in the readings Of va
rious conductors"
"oh, yes. father, and felt them, too,
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19

tdone 'offO and an equally unexpected
reference TO the Monmouth rebellion;
out they have the effect OF mere noisy
excrescences, valiant efforts TO recall the
atmosphere OF the period. which would
persist in slipping away. to leave a
vacuum behind IL. In the second act
there Is passage when each remark of
Carver Doone's is pointed by laughter
from his fellows. who laugh in true
stage fashion. all together and very
loud: and every time they laugh you
start and wonder why they laugh. Just
In the same way. the hustle of the story.
the Doones, and the murders and the
frequent inroads OF the villagers. who
are always moving In a body, seem not
to belong 10 the rest OF 1t; you wonder
what all this has to do with the elegant
loves of the young man and his dream
lady.
THAT fatal incongruity ran through
out. to the injury of an adaptation that
showed no lack OF knowledge or of
cleverness. In the Gwenny Carfax of
Miss Annie Hughes herself we had a
breath OF the true atmosphere and a fine
piece of the character acting In which
she excels, and Mr.. Robert Lorraine az
Tom Faggus was right hearty; but Mr..
Holman Clark could not galvanize Coun-
cilor Doone into life, and the rest of the
company seemed to find the vacuum a
little difficult to breathe"
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19

woman. born to be a district visitor OF
the English rural type. Shortly before
the appointed wedding day, let her
preach against his fippancy; let him
take railway journey in a hui. and
meet bewitching lady to whom he
makes love with all the traditional i'm.
petuosity of his race. Let her be a
novelist, whose works. as a very serious
curate severely remarks. are distin-
guished by IA cynical attitude toward
love and marriage
See what becomes of the cynical atti-
tude when she is carried or her feet by
a descendant Of Brian Boru. See how
little IL matters to him that another
lady has his plighted troth. and that the
wedding presents are already rolling in.
See how little that matters to her. con-
sidering that the very serious curate
wants to marry her out OF hand, and
that the wedding presents need not be
checked by the change of partnership
See how unbecoming II would be to
mate an Irish humorist with an English
district visitor, but what a capital hus-
band he will make for the novelist, VINO
had always thought that such a being
never existed outside of class of fic-
ton usually voted out of date.
Anything more delightful than the
Joy and wonder of Miss Ellis Jeffreys to
find a real live Irishman with all the
attributes of bygone romance is rarely
seen on the stage She diffuses these
sentiments through the theater until we
are all as enchanted as she is; and IL We
want to know the secret of the Hay
market success, bedad. there We
have iti'
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
The Genuine Conductor.

Speak not treason, child" continued
the aged viola. THE conductor who has
technic and intellect may make you he
elegant dilettante or the soul flying
across the swirling desert of hot dry
sand. He may have a plenty of agrees
sive spirit. but that is not necessarily
emotion Mere energy is not feeling.
But he who has the technic, the intellect
and the emotion is the genuine conduct
or. He not only understands, but he
feels, and having absorbed the compost
ton he becomes a part of II and it a
part OF him. They two are wed in per-
feet art. Their child is beauty. They
send into the world new thing. a recre-
alton OF poets dream. miracle every
time IL is made known. Yes, the real
conductor is a wonder worker, a ma
gician, from whose magic wand streams
the light of eternal youth"
There are not many real conductors,
father
The aged viola shook his head and
slowly led the way back to the illu-
minated platform in front of the wooden
houses beside the canvas canal. And
the band played selections from The
Knickerbocker Girl."-w. J. Henderson
in New York Sun.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Thinks He Conducts.

How did you like the readingY"
Most delightful. There wasn't any"
why does he conduct"
He doesn't; but he likes to think
that he does"
Have you ever conducted, father? Is
IL very beautiful7'
"Oh. yes. my son, have conducted.
Sometimes 1t was comic opera. which
was neither opera nor comic. Again 1t
was grand opera, which may have been
opera, but was certainly not grand.
Again, II was Just plain entr'acte music
in theater where there was almost as
much thought of art as there is in a
baseball ground. Still again. it was in
summer nights concerts like these.
where the music makes a noise to
drown much silly chatter, and again It
was in actual concerts. where people
paid money to hear music and listened
TO it, But all that was a long time
ago, before 1 became a viola player in
the back row."
But is 1t joy?''
YES" answered the aged viola, his
eye lighting with a rekindled flame OF
happiness. 'It makes musician glad.
1t fills a composer with rapture. Ber-
lioz said that no one who had not had
the experience could comprehend the
ecstasy of playing on an orchestra
That is what he called it; and he was
right. The orchestra is a great, com
pick instrument, upon which the skilled
conductor works his Will. Do you re-
member what Tom Moore said about
writing a poem7"
mo. father. never heard of Tom
Moore"
II forgot you are an American. Well,
Tom Moore was an Irishman and poet.
He said that the planning OF poem was
a most delicious FOOLS paradise, but that
the celebrating of the plan was worse
than the expulsion from Eden. Now. 1t
is pretty much the same with a must
clan The working out of themes and
the weaving OF harmonies, while one is
lying back In an easy chair and smoking
cigar. are a FOOLS paradise. The ruling
Of red ink lines on a sheet OF twenty-four
staff score paper and fitting your themes
and your harmonies to the chorus of the
many-voiced orchestra is a labor which
even Berlioz, master OF Instrumentation,
admitted was exhausting.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Of Go the Shackles.

But. that labor once ended. away go
the sbackles. on to the copyist to have
the parts written out for the band. Then
come the rehearsals. Composer faces
orchestra, sentient human thing, ready
to work his unheard wonders into LIVING
entities, to hurl them into vibrating air
and through It into pulsating human
hearts. This is my dream, the child
OF my fancy; know her, for she is full
of love and loneliness says the COM
poser. One by one he reveals to the
musicians the beauties OF his work.
They understand him, these men of
strings and wood and brass. Or he
thinks they do. They do his bidding.
and he hears the sounds which till then
were only phantoms haunting his secret
soul Do you think that is a joy?"
''Oh, yes. father. that is Joy indeed. d"
But that is not the end" continued
the aged viola. There is yet the public
performance. The composer mounts the
conductors stand and says to the audi
enee by that very act; Here is my music.
made Of my blood, the blood of my heart
Of hearts. am going to play II for you
who made II. And am going TO play
II on a thinking. living, throbbing human
instrument, the orchestra That Is n
great thing to say, but 1t is what every
composer says when he rises to conduct
his own work.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19

sembles every other Napoleonic drama. {"
he writes. "And its characters very
happily resemble the players to whom
1t falls to impersonate them.
Thus NJ. Bergerat's Josephine is iust
like Nine. Sarah Bernhard. She has
the same gestures. the same growls of
rage, the same gasps of anguish the
same way OF whispering in moments of
high tension, and even the same habit
OF beating violently with clinched fist at
locked doors.
so NJ. Bergerat's Napoleon is won
derfully like NJ. de Max He lets his
head drop on his shoulder. He car,ers
He obviously enjoys the sound of his
own resonant voice. Here's richness.
he seems to say. with Mr.. Squeers. In
short. he does everything which NJ de
Max is accustomed to do. That il the
signal virtue of the Napoleonic legend.
II accommodates Itself to the cast.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
A NapOleOnic Legend.

Eve have now a Napoleonic legend of
the stage which is as firmly established
as the Napoleonic legend of history, and
even more picturesque. 1t is, OF course.
the popularity OF a legend-it is the es-
pecial glory Of the theatrical legend-to
resemble everything but the truth
ortunately-fortunately for the drama,
at any rate-we do not know the truth
about Napoleon. nor is it likely that we
over shall.
For history, strangely as 1t is mis-
handled by the historians, is much more
dcspitefully entreated by the drama
lists. They. like the historians, have
the mythopeic faculty in excess, but
they have It, one may say. more
methodically.' For, when once they
have laid hands on great historic
figure and 'tricked It out for the foot
lights, they are careful not to depart
from the tradition they have created"
This thought is suggested by Nine
Bernhardts appearance in NJ. Emile
Bergerat's PLUS Que Refine" which
America knows chiefly through Julia
Arthur's appearance therein. The critic
of the Times" is equally entertaining
when he comes to consider the acting.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Greatest of All Is Intellect.

Rascal, would you poke fun at an
old man one foot in the canal? But, TO
answer your question. from which we
wander like the working out of a
French symphony from it's themes, the
conductor is but a performer. and he
must have the characteristics of one.
The great player of a solo instrument
is he who has three things, technic, in
tellect, and emotion. The greatest of
these is intellect, for without under
standing nothing good can be done in
art. Yet the finest understanding can
do nothing without perfect technic. 1t
is useless for the pianist to comprehend
the message of Brahms If he cannot
treat the notes as his servants. They
must be to him as the notes OF the
elder counterpoint were to Josquin des
Pres, of whom Martin Luther said:
Others do as the notes let them. but
Josquin makes the notes do as he
pleases.' Technic must be to the player
what mathematics is to the engineer,
something without any difficulties. Now.
you know there are conductors who can
not beat time"
"Oh. yes, father" said the boy. nod
ding his head sagely in the direction
OF Artemis-
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Too Large a Figure.

But there is one thing to which the
Napoleonic legend has never yet accom-
modated itself with complete success.
and that is the art of drama. Napoleonic
plays are not really plays. they are ex-
hibitions.
rs IL that Napoleon is SO gigantic a
figure that he dwarfs the piece? Is It
that the stage is compelled TO deal with
Napoleon intime.' Napoleon on his
amorous or domestic side, and that there
Is no really good dramatic material in
this side of him? Is It that the desire
to be 'anecdotic' at ali costs induces the
playwright to neglect dramatic consis-
tency and proportion?
we ask these questions. but we do
not pretend TO answer them. All that
we are certain about is that the Ma
poleonic theme doe. not, as a rule. make
a good play, and that Plus Que Refine
is no exception 20 the rule. II any
actress could make of the Empress
Josephine a heroic figure, Nine. Bern
hardt is she. What actually happens is
that Nine. Bernhard displays all her
familiar effects, and that is not quite the
same thing. though II is, Of course. in
its own way very wonderful thing. AS
to NJ. de Max's Napoleon, we have al
ready said that 1t is an admirable por-
trait Of NJ de Max. NM. Desjardins and
Deneubourg are good in small parts"
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Napoleon on the STAGE.
A Tradition Which Defes History and
Contradicts It.

OSANAo0ANNo IL
IF Napoleon had not existed" saws
the London Times" "it would have
been necessary to invent him. For
think OF iti-without him the world
could never have had the Napoleonic
drama.
Actors could never have paced the
stage with bent head and hands cIasped
behind the back OF a green coat. They
could not have pulled the ears of minor
actors, cast for Junot or Murat. They
could not have alternated between vol
canic outbursts of rage (while all the
imperial court visibly trembles) and pas
sages Of embarrassingly intimate domes-
ITCHY (while the court discreetly retires
behind the heavy velvet hangings).
The imagination reels at the thought
of what the stage would have had to
forego in the absence Of q Napoleon
His theatrical career, indeed, has been
as adventurous as his actual life. There
was a time when the circus marked him
for its own. But we do not wish to
bring up those old bare backed steeds
against him. The stage of the later
nineties made amends by allowing him
to out-Napoleon Napoleon. He crossed
his hands behind his green-coated back
for whole acts. He pulled ears by the
dozen. This was the period of the Ma
poleonic revival. Empire furniture came
once more into fashion, and with it the
theatrical apotheosis Of the great little
emperor.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
The Art of the Conductor.
The Aged Viola Player Instructs the
Boy.

1t was hot and humid evening In
midsummer. The city steamed and
sweltered under II. and from the fiat
iron point OF the gray and green Battery
TO the olive slopes of Inwood men
sought surcease of sorrow In cold beer
Beer. that pleasing delusion of the
throat. which turns to fire in the stom-
ach. and makes the inner man, like the
daughter Of the horse leech, cry IN
ceasingly. "Give, give!" In the very pit
and citadel CT the town there stood a
tower. above which. poised on one toe.
a gilded Artemis swung to the wooing
Of the zephyrs and aimed an arrow into
empty space The edifice below the
tower was ablaze with garish electric
lights. which told the passerby that
within might be found some sort OF re-
freshmen for the body and the spirit.
Entering. the visitor saw tinseI imf-
tation of the famed city of hundred
isles. A jerky stereoscopic contrivance
sent agitated clouds across an expanse
OF calcium-lit canvas sky. Painted pal
aces of thin wood doomed beside a
painted lagoon. Around a central con-
gestion OF seats lay a narrow canal Of
dark and gruesome-looking wafer. On
this numbered two or three extremely
ungraceful gondolas. In one Of them a
red-capped son OF Italy stood up and
twanged a mandolin. while he sang id
a high, strident voice.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Enters the Conductor.

Around the outside rim of the canal
men and women sat at little tables and
drank The men smoked, and many
of the women looked as IL they would
have liked to. Bored almost unto death
most of them appeared, even though It
was plain to the most inexperienced eye
that few OF them were residents of this
weary town.
On a platform in front of the wooden
palaces was an orchestra In front Of it
presently appeared a tall. thin man with
a smooth face. He raised a small stick
and. waving it about. pretended to con-
duct the orchestra in the performance Of
music, though it was quite manifest that
the musicians were really following the
lead Of the first violinist, who con-
torted himself violently. and wore upon
his face an anxious look and much per-
spiration. There was not too much
unanimity in the orchestra, but IL mat
tered little. The result Of much scrap
ing and bowling and blowing and pound
ing was but confusion of sounds, out
of which an expert might have made
some faint resemblance to a well-known
overture.
The audience applauded briefly and po-
litely, and at once the conductor raised
his little stick for an encore number
This time the orchestra played a popu-
lar march, one which is strummed upon
every installment piano from Hoboken
70 East New York; is hammered upon
the street machines; is whistled by the
wandering small boy, and is danced into
a two-step through every degree Of lati-
tude in the seacoast summer resort dis
trict- Then the audience applauded
much more enthusiastically, as people
always do when they hear music which
they know.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19

Zach Walsky. who has been connected
with the Academy of Music for a num-
Der Of seasons. will go in advance OF
the new meIo-dramatic production, The
Factory GIRL which goes on the road
next season. 'Zeke,' as he has famil-
iarly called, leaves with the best wishes
OF his friends in the theatrical profess
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
SUNDAY AND HOLIDAY SCHEDULE.

RETURNING-11 80 a. m,
y 20 p. M, l % p. m, 3 80 p. m,
5:25 .. M, :15 p. M, 9:15 p. m,
10: 80 p. m.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Briefly Told.

E. H. Sothern closed his season in
Duluth on Thursday evening in per
Torrance of IF I Were King" Mr.
Sothern, with Daniel Frohman. his man
ager. will soon go to Lake Hopatcong,
n. j., to spent a few days at the home
OF Alexander Lambert.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Cousin Kate" Is a Success.
Reason for 1t Told by a London Ora
matte Writer.

The English critics are still discuss
ing Mr.. Davies rev comedy, Cousin
Kate" which has made such success
at the London Haymarket Some of
them point out the absurdities, exag-
gerations or impossibilities OF the story,
and are little puzzled to account for
the triumph of the piece. The follow
Ing explanation is given by writer in
the London Chroricle:"
Take an Irishman who is engaged,
no matter how. to very sedate young
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19

sion with whom be has been SO long as
ISOLATED in this city.
Charles B. Dillingham; announces that
FRITZ Scheff has selected a new opera
by Harry B. Smith and Victor Herbert
for her starring tour next season under
Mr.. Dillingham's management In prefer
ence 10 the works OF several prominent
foreign composers that were offered.
Robert Mantell isn't likely 20 be seen
in this country. in a professional sense.
for year or more. He has made ar
engagements to sail for Australia "a
September for a prolonged stay In that
part Of the world. He takes with him
The Dagger and the Cross. ''Monbars.
The Face In the Moonlight" and other
plays which have shown themselves 20
be profitable features of his repertoire.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
The Old Viola.

Buried in the hidden rows of the viola
players Of the orchestra sat an aged
man. He was a musician-not merely a
saver Of strings. He had lived, that
ole man, had lived an inner life, and had
felt. He actually thought about his art,
and that, TOO, in spite OF the fact that
he was only viola player. He had ideas
about the esthetics of music. He knew
things about composers and compost
items.
But he was old and tired. He had been
through 1t all. He was looking back
ward He felt that he was always
playing the receivable chord in a final
cadence and that. no matter how much
the end might be deferred by unexpected
suspensions. It was only a few bars off.
He was ready TO welcome the great dou-
bic bar aud the long hold.
He had seen mad world wag all the
way from Julien to Wagner, lie knew
its utter fickleness. He smiled when he
read of London's sudden discovery Of
Tschalkowsky. as he had smiled when
he heard OF the worlds discovery Of Raft
and Grieg Sweet singers all, God bless
them: but immortals? Humph, After all.
the world was very young, very young.
indeed, as any old man could easily see.
Only boys and girls who were young
themselves would fail to notice that the
world was a mere baby, playing every
day with a new bauble. But that. too.
was not wrong. Let the young be young.
and the old be old.
Nee duices amOrcs
Sperne. pucr neQue On choreas
Donec virend canities abest
Aoros3.
That was what the aged viola thought
in his own Teutonic language, not in the
words OF Q. Horatius Flaccus.
Next to the old man sat a boy, who
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19

GOING-9:1 Is a. m, 10 30 a. M,
IL 80 A. m, / % p. m, . 80 p. m,
$40 p. m, 5:25 p. m, 1880 p. M,
900 p. m.
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
Like Seeks Like.

m. Emile Bergerat's Plus Que Refine
does not OF is quite safe to conjecture)
resemble facts, but 1t triumphantIy re-
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19

also played the viola, but for a differ
ent reason. The old man played Il be-
cause he was no longer vigorous enough
to be first violin. The boy played IT
because he was a boy and was not vet
to be intrusted with positions of import
ance and responsibility in an orches-
ira.
They were fond of one another, this
aged viola and the boy, and In a fatherly
way the old man sought to instruct the
youth In the customs of the musical
world. in the meaning of music and in
the nature Of performers and public. The
boy did not always believe the aged
viola. Boys are prone to doubt the
truths which are gained by experience,
and even though boy plays a viola, be
is still boy.
The orchestra played the unfinished
symphony OF Shubert. When IT was
over there was an intermission, and the
aged viola walked very thoughtfully
from his seat.
"Of what do you think. father?" said
, the boy. softly.
"Of Mozart dead in the glory of his
manhood. OF Chatterton snuned out in
the blaze of youth. OF Keats shot into
darkness before he had finished his
prelude"
"All unfinished. 1 see." said the boy.
Yes. unfinished, like this symphony
we have just played. but they will be
a.
where in the hereafter. The symphony
will remain in the world with its end
less interrogation mark"
The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-07-19
M arshaIl Hall.

Str. Charles Manchester leaves at 10 an.
2:3O and $50 pm Indisn Head trips every
Thursday, Friday. and saturday az $50 pm
Sundays, II an, 2:30 and $50 pm.
FARE, ROUND TRIP .-......25 Cents