The San Francisco call., 1904-06-05

society. and every little German viii
lage OF $4,000 has its symphony"
grumbled. How is it?"
Mr.. Berthold thought a moment
He has habit of thinking before he
speaks. Then he decided: Il think
it is because in Germany they will not
do without music. They never think
OF going without it any more than of
going without dinner. 1t is part of
their meat 1t never stops. If it is
not grand opera il is comic opera all
the year round. And then there will
be even in small places ten or twelve
symphony concerts every season.
Then there are the fine military bands
and they never play trash. They play
in the parks. and if it severely rains
they play in laEge music halls. where
one may drink and smoke. Music is
not there a luxury; it is a neces-
sity.''
But where do you get your sym
phony orchestra in a small town?" 1
appealed.
From the theaters." Berthold replied
"On the concert night they give plays
in which they viii need no orchestra,
so as not to interfere"
Simplicity itself,
And the pecuniary support"
Everybody subscribes, of course
the singer settled it. OF coursel
Then" he volunteered further. the
symphony concerts are not society af-
fairs"
AS the singer leaned forward to en-
phasize his point elbow on the seat in
front, his chin on his hand, / got my
first good view of that Anton Seidl-like
head. There is the same broad, clear
brow; clean-cut, classic lips; gray eyes.
now with CLINT of fun in them, and
clear as truth itself. And there's a
good, big, PRACTICAL nose to balance
much OF mysticism one finds in the
face.
Later, inevitably. we got to the Ger
man transcendentalists. Nietzsche and
his ''overman" came up in the connec-
ton
Shall I guide my life by Nietszche?- p
he died mad" the singer cried. Then,
with the archaic earnestness that dis
tinguishes him, the accent somehow
cIoistral that invests Mr.. Berthold's
Ightest word. the tenor said: by their
fruits ye shall know them. Madness is
not the lot Of the truly wise
Whatever he has lived by-and take
it to be a mixture of Buddhism by way
of Schopenhauer, Swedenborgianism
probably. Christianity certainly-it has
written a fine sanity, kindness, wisdom,
deeply into the Berthold face.
But he was finding mild amusement
in our society patronage Of the SYM
phony concerts. I offered wisely: But
you owe your musical development in
Germany originally to aristocratic
patronsgei"
"A long time ago." he demurred
smiliDgly, "and it is an insecure foun-
dation. An art becomes vital only in
so far as it is the very life of the
people. The highest development of
German music is, of course, instru-
mental, and" the singer added, lit is
the highest form. What can be finer?
I can't imagine anything more beauti-
ful than great symphony, played by a
splendid orchestra"
Then you do not think the German
excels in the vocal art?" / asked.
No, not as to pure vocalism That
the Italians have given us once for
all" the singer generously conceded
He put up then a qualifying hand.
Perhaps in Germany we sing more
musically. Fey people know that
Wagner says precisely that he de-
sires the retention OF the Italian
method and it's application to the mu-
sic-dr4na needs"
1 ventured: "Bayreuth saws differ
emily"
That is Nine. Wagner" Mr.. Berthold
explained. Every artist who goes
there has TO exaggerate. 1t is
Nine Wagner's desire. And most
Of them come away with a rough style
ard a declamatory sereech. But that
was not at all Wagner's intention.
Always he insisted on the beautiful
tone. He did not regard the voice as
the supreme, dominant interest ana
orchestra as purely accompaniment.
The voice has it's place in the music
drama as one Of the instruments. most
important, perhaps. but not
He hesitated.
The whole show found for him.
He made wry face at the irrever
ence, but accepted the fact and went
on: And, look you, if" his uplifted
brows accented very large .1f''-
IF the score were observation-disclosures
and pianissimos abound. the singer
would have no difficulty in taking lust
the place Wagner meant for him. But
so often have to stick 10 the
notes only They don't see the man
up there"-Mr. Berthold fell into q first
fiddle with his nose in the score and
then into frantic conductor with
kissing 'pianissimo.' between his
teeth. They don't know the operas.
in fact, and roar along INCREASINGLY"
What to do then?'