The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1903-05-24

TTERRICH CONRIED has unbos-
omed himself fully and officially
on his plans for next season for
the first time since he was selected to
preside over the destinies Of the Met
ropolitan opera house as successor to
Maurice Grau.
One point concerns the establishment
Of 8, school OF opera in connection with
the Metropolitan, from which Mr.. Con
RED expects to develop American sing
ers who will be as great artists and as
prime favOrites as the famous singers
Of today without having the exorbitant
ideas OF the latter on the salary cues
ton.
This school win be opened IN Sep
tember." said Mr. Conried, land I have
as starting roll four American girls
who will, I feel confident, be prepared
TO sing some Of the greatest parts in
opera within a few years In a com
paratively short time I think they viii
stand as high in the estimation Of the
New York public as now do prima dom
mas who deland-and receive-from
$1,000 to 81 900 per night.
The high salaries prevalent in Amer
lea is one Of the most pernicious phases
Of the opera situation. Singers demand
twice or five times as much for an
pearing here as they are glad to accept
IN Europe. There is no good reason for
lit is unjust to the American public.
The salaries paid by Mr.. Grau Ger
Jalnly, to my mind, reached the uIti-
mate bounds, but the same artists en-
ployed by him are demanding more
from me than he paid them. To this I
VIII not submit. viii pay as much as
he did, but not more.
Nine. Nordica was given 81 $50 a
performance last year-nOw she wants
$500. Nine. GadsId does not see why
she should accept a cent less than any
other soprano.
Jean de Reszke's figures are the
most amazing Of all He cabled that
he would not come unless guaranteed
twenty performances at $4,000 a per-
Torrance, and unless his brother
EdOuard is warranted sixty appear
ances at 500 for each time he sings
That would mean 1921 900 for the De
Reszke family alone outrageous.
KOcian, the beautiful boy violinfst.
who so charmed Americans a few
months since, has done a genuine elOpe-
ment Of a novel and sensational order.
there is a rare violin, and, in the case
or out Of it, Kocian means to have It.
The tale, which is redOIent Of simplici-
~ and romance, is told thus by the
ConsertgOer:
Poor Kocian, to be so romantic! To
love a violin, to want 1t at any price,
and to know that il belongs to an
other. and for that reason il must be
locked in its prison, where he may not
hear the music of It's voice, where he
may not feel the thrOb Of its soul as
he pours his own forth in a burst of
melody. Alas, that these things should
be. Why must there be collectors? Ny
sympathies are all with the musician,
10 whom the violin is a living being,
instead Of curio, to be kept IN a glass
case And IL IS not that I am not IA
miliar with every breath that the curl
osity hunter, the lover Of antiquities.
draws, too, am a sufferer, OF. shall
I say, an antiquarian?
But Il is stated that Kocian win be
held on a charge Of robbery by the
owner OF the violin"
That is a remarkable story which
Ziem, the French artist, formerly the
intimate friend Of Chopin, has just told
of the origin of the latter's Funeral
March The famous composition was
conceived in Ziem's atelier and under
circumstances uncanny enough. Late
one afternoon" says the painter. "Chc-
pin and sat talking in my studio. I
spoke Of music, and he Of painting.
Strange, is il not? Artists are very
fond Of exchanging views in this way
In one Gamer Of the room stood a piano.
and in bother the complete skeleton
OF a man, with a large white cloth
thrown ghost-like about II. I noticed
that now and again Chopin's gaze
would wander, and, from my knowledge
OF the man, knew that his thoughts
were faT away from me and his sur
roundiEgs. More than that. 1 knew
that he was composing. Presently. he
rose from his seat, without a word
walked to the skeleton. and removed
the cloth He then carried It to the
piano ana, seating himself, took the
hideOus object upon his knees A
strange picture of life and DEATH Then.
drawing the white cloth around him
self and the skeleton. he laid the lat
ter's fingers over his own and began to
play. There was no hesitation in the
slow, measured flow Of sound which he
and the skeleton COnjured up. As the
music sWelled in a louder strain closed
my eyes, for there was something
weird in that picture Of man and skel-
eton seated at the piano, with the
shadows Of evening deepening around
them. and the ever-swelling and ever
sOftening music filing the air with
mystery. And knew I was listening
to a composition which would live for
ever. The music ceased, and when I
looked up, the piano chair was empty,
and on the floor lay ChOpin's uncon-
scious form and beside him. smashed
all the pieces. was the skeleton 7 priced
so much. The great composer had
sWOoned, but his march was found"
The melody Of ''Ta-ra-ra-b oom-de-
AZ" was reproduced from a solemn