The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-06-14

Mr.. Seidl's reputation az a conductor
rested entirely upon his success in the
Wagnerian drama OF course he deserved
every jot of that success. His Wagnerian
readings were. In the first place. authorita-
tive, for he was friend and assistant Of
Wagner himself. He had worked side by
side with the great composer in producing
the Niehelung series at Bayreuth. He had
copied the scores for the printer. He had
aided in managing the stage. He knew
the Wagner dramas,
Secondly, he was in deep sympathy
with music Of that kind. He was Hun
garian, lover Of the rhapsodic fantasies
Of Liszt, a deliver in unfamiliar mines of
rhythmic lore. He brought to the direc-
ton OF the Wagner dramas not only knowl-
edge, but also passionate intimacy OF feel
ing. He poured himself into the works,
and he had the invaluable power OF inspir-
ing artists. Jean de Reszke told the writer
once that he always went to rehearsal
when Seidl conducted. because he could
learn something.
The public them saw in Seidl a great
conductor. 1t took no thought OF the fact
that ne could not conduct Gounod's "Fauat
and that he would have made a mess OF
al Trovatore- The Philharmonic So
ciety was clever enough to perceive that
this public worship of Ssidl could be made
to work TO its profit So Sedl was en-
gagged to direct the concerts. The result
was most happy. The audiences were
always large. The conductor was often
censured for his erratic readings Of Bee
thoven, for he played havoc with some OF
hot for
nothing. His personality was potent. That
was enough.
Seidl Of the classic profile. the beardless
cheeks, the pallid yellow complexion;
Seidl of the dark and fluent locks, the pro-
truding chin, the stony glare; Seidl OF the
cleaning cuffs, the grasping hands, the
sweeping stroke-he was the idol Of an
operate hour and when no stood we'll dis
played before a concert orchestra, he be-
came a sort OF god. That tho man had
force was plain TO he seen, but that 5000
people should have sat In breathless silence
at his distortion Of Beethoven's "Eroica '
was not to the welfare OF musical art In this
community.
But peace to his ashes He has gone his
way and the Vienna restaurant will know
him no more. His successor at the Phil
harmonic desk az all remember, was Emil
Paur, deposed conductor OF the Boston
Symphony Orchestra. Poor Papa Paur,
with his bland smile and his cheerful views
of matters and things in general ESPECIALLY
Richard Strauss) was too lenient in mood
and too ungraceful in appearance 10 he
the right man in the right place at the head
of the Philharmonic. 1t was not that his
lapiapor thu nrchaat Not thing
can affect that. 1t plays steadily through
season after season according to the dictates
Of its own lack Of conscience, and no CON-
blance of real vitality.
No: Papa Paur's leniency affected the
public The man was too easy-going to
be a leader. He could not master his
audience. He had a certain amount of
support, for there were some people who
saw that he was a good musician and
well-sohooled leader. But he was not an
ideal conductor. He was too rude for
polished Boston and not sufficiently Wig
orous for material New York. .
The engagement Of Walter Damrosch
was bound to be a failure, and that through
no fault OF the conductor himself. In the
first place. there never was any real de-
mand in the orchestra for him as director.
He was chosen simply because he was
the best available man. More than half
the musicians of the orchestra dislike Mr..
Damrosch az a conductor, chiefly because
he has grown up to his present position
in the musical world right here In New
York while they have stood still
But, lea wing all that out OF consideration,
no man who had for years been familiar to
the players of the Philharmonic could
hope to inspire them with new enthusiasm.
They went into d sound sleep last winter
Az for the public, what could be expected
of il? Mr. Danrosch was an old story.
too old TO excite new interest in the soporifc
performances NJ the Philharmonic He
was an unfortunate victim Of circum-
stances He made a brave fight, but fate
was against him from the outset, Further
more, people had acquired new standard
of orchestral playing. The years Of work
Of the BOSTON Symphony Orchestra had
told their tale. and the concerts OF the
organization had come TO he highly pros
porous The Old shiftless methods Of the
Philharmonic would no longer do.
l, was NANTES, that things were go ing
from bad to worse all through the last
season. And now the society hopes to
revive its sinking vitality by bringing over
several conductors as guests. 1t may be
that this story is not true. Let Ills hope so.
for only disaster will in the end follow
such proceeding. 1t will revive the falling
fortunes for one season, hut 1t cannot have
lasting success
In the first place, 1t will be an open con-
fession that the Philharmonic Society as a
musical power In this community Ia dead.
It's name will no longer have any market
value, In the second place. it will not
pin public attention on one man and build
up for. him following which alone can
insure permanent success for the Phil
harmonic concerts. In the third place,
the playing Of the orchestra will not he one
whit better under these several star con-
ductors than il was under Mr.. Damroech.
1t is useless to beat about the bush in this
matter. The Philharmonic Society will
never he any better than 1t Is now till 1t
changes its system and buckles down t"
honest hard work to get musical results
WI, an, u.,rv Wood for In stance ACHE We