The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-11-29


NEW YORK, Nov. 2s.-The last obstacle
before the production of "ParsifaI' at the
Metropolitan Opera House on the evening
before Christmas was moved by refusal of
court to grant an injunction on application
of Cosima and Siegfried Wagner the heirs
of the composer-dramatist. Testimony bear
ing on a number of points was offered by
the plaintiffs, but the sole question to be
decided was whether or not the score of
"Parsifar' had been published without
copyright in the United States. OF course,
IL had and any one may produce Richard
Wagner's last work in this country. The
controversy has served greatly to adver-
tise Mr. Conried's enterprise, and If the
wide extent of interest in New York had
not already been attested by the advance
sale of seats for the performance of Par
sifal." it should have been evident in
most interesting public manifestation on
last Sunday afternoon at Carnegie Hall.
Mr.. Walter Damrosch and Mr.. David
Bispham had been absent on tour of the
cities of the middle West, where they gave
recitals illustrative and explanatory of
"Parsifal," and now had returned to New
York to offer. in an elaborate form, their
contribution to the very general argument
of the subject The occasion was, too, the
formal introduction of the reorganized New
York Symphony Orchestra, which is so for
tunate to have Mr.. Damrosch as con-
ductor, Mr.. Daniel Frohman as president,
and Mr.. Leo Schulz the violoncellist as
vice president. All the seats for the con-
cert had been sold days before The rep
resentation of "Parsifal' consisted in the
Prelude, the Professional and the knights
of the Grail in Act I, the Lament of Am
fortas, in Act /, and the Good Friday
spell" in Act III. The arrangement for
orchestra of the Professional was Mr.. Dam
roschs and the English version of the La
| ment, which Mr.. Bispham sang, had been
made by the conductor and the singer in
collaboration.
Mr.. Darnrosch was heartily applauded
when he made his appearance and an
| nounced that, preceding the concerts of
the orchestra, he would talk briefly of the
various features Of the programmes That
would have been an affront to the audiences
| of the Philharmonic Society or the Boston
| Symphony Orchestra, but this assemblage
was gathered together with the wish to
| be instructed In the mysteries Of "Parsi-
| fal," and was of a humor to approve any
| educational project. BY the same sign, the
| first number OF the programme was a happy
acknowledgements New World" SYM
phony. In 1t, the composer sought to give
/ his impressions during his visit to America.
and the composition is fabric of familiar
tunes of the several nationalities that are
| mingled in this country, combined with
material original with Dr. Dvorak The
| last movement is ALLEGRO con fuoco," and
presumably is significant Of the confusion
| and rush of the American people, to an
| end that the composer was doubtful about.
| The symphony has been a popular topic
| of comment by public-spirited musicians
| that seek to interest the mass in American
Music" which is a phrase almost vague
| as another abiding to the Great Ameri-
| can Novel; in prospect.
| Mr.. Damrosch explained that this coun-
| try has no "folk-songs," all its national
| melodies having been either adapated or
| borrowed. Mr.. Krehbiel, who is the prin-
| cipal authority in this, protested the next
| morning in the Tribune, but it would seem
| of little profit to detail again this ancient
| contest. The fact that a melody has long
| been popular with the "cornmon people"
| does not make it beautiful, however inter-
esting it may be as betraying character.
| The orchestra played the symphony in a
/ free and vigorous STYLE and that was most
| important II was followed by a group Of
/ songs by DR.. Dvorak, sung by Mr.. Bispham,
with piano accompaniment by Mr. DAM
| rosch. Mr.. Bispham's worth shone in the
| "Parsifar' section, the second half of the
programme, and his Interpretation of these
songs was most unfortunate. Three of
| them have charming melodies, and Mr..
| Bispham stands in the first rank Of the
school Of declamatory singers inspired by
Richard Wagner. There was none of the
fine and passionate purpose Of the songs
left when Mr.. -Bispham had finished with
them, and 1t is better to pass quickly to
| consideration of the "Parsfar' numbers.
Mr.. Damrosch is always frank, direct,
honest and forceful, and he did not attempt
| to create a mist to confuse his audience
as to the meaning of 'Parsifal," which is
any one of thousand things If one listens
to most of the advocates of Magnetism.
He said simply that the music-drama was
an expression of Wagner's religious faith,
of his belief that man was to be saved
from the direful consequence of sin by the
purity and pity that were the chief ele-
ments in the character of Jesus Christ;
that is, "Parisfal' is symbolic of Christian
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