The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-07-19

agination the result charms, for this man
was both a miniature painter and painter
of frescoes. The Dance Of the Sylphs, with
its sweet muted buzzings, the Minuet OF
the Fire f,s, are marves, familiar ones, OF
descriptive music.
Like most musical Ere nchms n, when he
wishes to be wickt d Berlioz mocks the
religion he loves. He is fond OF parodying
the Dies Irde, and in this Auerbach scene
the students. drunk as they arc. sing a
rousing four-part fugue, and on this par
ticular Sunday night tn Y sang it very
well Why Mephisto should call such
men "bestial" we wonder. They are a
thirsty mob; but beasts can't sing fugucs,
no matter the length and breadth Of their
thirst. 1t is only another instance Of Berlioz
composer getting the better Of Berlioz libret-
fist. Let the action, let the story 60 hang,
but listen to my fugue! Az heart this COM
poser was a cold, even bigot. d pedant,
a classicist incorporating In snowy orches-
trail garments as a romanticist. He never
but once struck fire from his musical flint,
and the spark was not hist was Hun
garys. The "Rakoczy March is the best
thing Berlioz did not compose.
Yet it would be folly to deny the gran
deur Of his schemes. Essentially dream
a giga ntic lark, as Heine called him, Ber-
lioz is always building his astonishing
Tower Of Babel into the skies. He would
pierce the very floor OF heaven with it's
pinnacle. The -Te Deum" recalls one Of
John Martins she dowy mezzotints, where
on sombre plains stand dazzling palaces;
or Delacroix and Dore-to yoke two names
poles asunder in their gifts. This passion
for the unreal Berlioz shares with Marlowe,
with the author Of -Vathek.' 1t mars his
work and it makes it possible.
The fifth act begins with an almost end
less series OF couplets sung by Marguerite
in her chamber. Why Berlioz. so miracu-
lousy sensitive to the varying timbres Of
Instruments, was SO dul-eared when he
wrote for the voice, is an enigma. Each
verse carries with it the same music, the
best moiety OF which is the English horn
obbiigdto- played with skill by the first
oboist. 1t recalled both Ha ndel and Gluck,
and more remotely Meyerbeer.
The Ride to He'll is startling and realistic.
Too much praise cannot be lavished upon
the scene setting. A gloomy cavern with
terrifying perspective of abysm hemmed
in by monster rocks, the whole Illuminated
fitfully, brought back to me Belasco's River
OF Souls in ~The Darling Of the Gods ]
need tell you nothing Of the music. 1t is
commonplace of Sunday night concert
programmes. The doings on the stage are
what enchain the eye. Kranich outdid
himself. The magic fire scene, the final
smash-up in G6tterdammerung, the Ride
Of the Valkyrs, were all utilized To the
thunderous crnshings and cosmic con-
fagrations Mephisto dragged Faust to hell
1t was an awful place on a hot May night
in Paris theatre.
Renaud, whose voice was luscious ten
years ago, has sIccumbed to oibrato.
But he Is an artist Of the first rank and
he made something Of the Mephisto. The
serenade was delivered with sne irony.
I shall not dwell upon the mediocre per-
Torrance Of Nine. Montalnnt. She has
just lost her husband, once a well-known
musician, and that undoubtedly accounted
for the reedy quality of her voice. though
not for the vicious tone production. Be-
sides. she is not a suitable Marguerite In
appearance. Cazeneuve was the Fdust.
No wonder there was small row in the
audience. He looks like a prosperous
brewer and sang-well, he sang like a
brewer with white voice. How he did
enjoy his little falseuo! 1t was regular
summer night outing for his larynx! Chal-
min was the Brander. There were many
Americans in the audience, though few
sat out the evening. From s to - is a
lon z time to endure unmusical music and
a lot OF fireworks
was much more interested in the score
of Claude Debussy's -Pelleas and Me-
lisande," given at the Opera Comiaue,
than in the faded splendors OF Berlioz's
music. l met Debussy at the Cafe Richie
the other night and was struck by the
unique ugliness OF the man. His face
is fiat, the top of his head ia fiat, his eyes
are prominent-the expression yelled and
sombre-and. altogether, with his long
hair. unkempt beard, uncouth clothing
and soft hat he looked more like a b.
hemian. a Croat, a Hun, than Gaul. But
there is talent in the mans face, unique
talent His high prominent cheek bones
lend Monaghan aspect to his face. The
head lis brachycephalic the hair black
At present Debussy is music-critio ON
Oil Bias. position that is, fancy, a mere
half way house on the road to fame. for
his criticisms are distinguished for moth
ing in particular. The man il in his music
We have heard little except a string
quartet of his in New York The music to
Maeterlinck s Peleas and Melsande," is 30
absolutely welded to the play, 40 incidental
in the true sense Of a much-abused word.
that as music qua music il is unthinkable.
At hearing you set the composer down
as lacking ear. But Richard Strauss via
the music of Wagner. List and BerliOz has
set the pace for the cacophonists. Since
his Don QuiXote there has been nothing
new devised-outside of Climatic split
the ears Of diatonic lovers. Debussy, not
withstanding his umquestionable musician
ship, is obviously II literary" composer
That il to say. his brain must first be ex-
cited by the contemplation of q dramatic
situation, a beautiful bouquet Of verse,
a picture, a stirring episode in a novel.
But why oavil whether the initial impulse
for his music be the need of money or Da
yincis Mona Lisa! A composer who
can set Malarme's difficult "L'Apres Midi"
and the more recondite poems Of Baude' ire
need not be daunted by criticism as to his
methods OF work Take this "PellIss'
music for example; it is perfect specimen
NJ accommodation. The musical phrase is
d;sIocated il decomposed; the rhythms