The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1904-01-17


may, be especially mentioned silver
spring. Monody. -Ar Afatin. Az
roir Spring DaHn -Reverie
Poetique. BeTcense. -serenara. and
ESomanee fdyi. are notable for their
Sarm col0ring. for their profusiou 81
graceful Ornamental ton. and for their
unfailsng interest to the player. Thev
are admirably Klaviermassig. They
abound In interesting treatment of ar
peggio and scale figures, ia wrist and
arm work. in interi0cking octaveS, mel
Odies disposed between the two hands.
and other modern devices. The early
but inimitable "silverspring" is prob
ably as wen known as any of them, and
Nine. Teresa Earreno recounss how
/ Gounod. when she called on him in his
/ last years, would always ask her 10
play that delightful Source d argent p
I In his later compositions DR.. Mason has
taken much pleasure Ia those enhar-
monte modulatiOus and other harmonic
/ tours de force with which Wagner,
! Grieg. Dvorak, Cesar Franek and ot--
! ers of the modern school have made IS
! familiar. He is fond Of saying that al
/ the keys belong TO one family. and the
musician must pass from one 10 any
other with perfect ease and naturalnssE
His recent improvisation" published
by G. Schirmer. is an interesting ex-
ample of this quasi-rhapsodie mode of
/ composition
"Wnen the immortal god of music,
! who wandered among men at ludwig
Won Beethoven, had written his last
symphony and had secured several
performances of it, writes Zumpe. it
appears from the opinions Of bis con-
| tempoTaries that this extraordinary
lwork-unusual as 10 form and content
WAS looked on as the manifestation
Of an undoubted genius. but enc which
had become degenerate The musical
pOpes of his day pronounced the COM
poser sick genius and what these
said in Germany influence those IN
other lands Fifty years ago there
lived IN Dresden a second capellmeis-
ter, who. through his earnest and
rexerent study of Beethoven and
through his own intellectual vigor, re-
NAMED free from the effects of the
lanathema. and who Cor inspiration
and for his education, copied al the
7 symphony scores Of Beethoven, and
gave them the most thorough and in
innate study He thus learned, in the
stiil. biissfuI nights which he devoted
/ 10 this work, TO learn the secrets and
meaning of the master wEo. to oil. So
solitary on unapproach5 bic heights.
( This second capelImeister solved the
mystery of the Ninth symphony, aad
/ this humble musician OF subordinate
frank was Richard Wagner This man
because he had shown an inclination to
| so his own way, WAS viewed with dis
trust. end what n dismal howl was
raised in DresdeE when this second
! eapeilnaeister announced that he In
/ tended giving the Ninth Symphony Of
Beethoven. The good and holy conser-
lvatives raised their voices in protest
lagainst this unheard-of irnpertinence OF
a humble conductor who had the fur
/ Their audacity to announce that he tn
tended employing the royal orchestra.
These musical eunichs petitioned the
/ king to prevent the Wretched scandal
which so unparalleled a step would ia
volve and begged him TO save musical
ISaxony from everlasting ridicuie. This
was in 1876 Fortunately the king re-
fused to listen to the eroakeEs, and
Wagner rehearsal his symphony, all the
lsinging societies in Dresden joiniDS
! him. He inspired them with something
/ of his own enthusiasm by flaming
words, and he drew to him all that was
sincerely musical. The bitter fight
came to an end with the performance
/ of the symphony. The performance
was a monumental one and this work,
taken from its grave, was given in 50
glorious q manner that il echoed
throughout the world on the Palm Suiir
/ day on which it was given, and one
lc0nductor after another found courage
TO follow IN the footsteps Of Richard
/ Wagner and Beethoven, the grest
genius whom people thought demented
I because they could not understand
J him, stood revealed by hfs work as d.
/ vine" Li5zt also an undaunted cham
pion, taught the people the naear&cs
( and beauty Of FScethoven's sonatas.
/ Yet his transcriptiOns of Bach's organ
/ preludes and fugues and Of his fantasia
and fugue in G minor show NOT only MS
! technical versatility IN mastering the
/ transcription Of the individual charac-
/ teristics Of the organ with the same tran
scendant insight into its power as me-
dium of expression as in the case Of the
Beethoven symphonies They make the
/ instantaneous impression of the authen-
/ tic Bacn with his gigantic breadth Of sx-
/ pTessiYsness and his colossal mastery Oh
contrapuutal effect. It is only BY con
sulting a thematic catalogue aOf ldszt
arrangements of every description that
the student can begin to realize what ne
has brought into the vast domain of piano
! literature by listening to other instru-
ments whether the voice, violin, or the
entire orchestra OF all stages OF tee pro
gressfOR from the orchestra OF Beetno-
Ten's first symphony to the complex &c
velopment which the composition OF
I Tristan una Isolde called into being.
The intrinsic musical value Of this gen
eFous gift to pianists IS TO some weii-nfgh
appalling in its variety Of style and emo
tiensl contents Even the fantasies On
Italian operas are made with great tech
nical care and consideration for their ar
tistic value. If they are less 1loVn and
less popular today it Is on account of the
fate Of the original operas and the change
Of musical fashion rather than any ar
tistic defects IN these brilliant and flo
rid fantA sizes. Considered from one end
10 the ether. this brilliant catalogue Of
subscriptions shows that List was mar
vellously versatile and electric in his mt
steal appreciation.
A few years ago. when the production
of "Parsifar' IN London was suggested,
one of the fanatics declared that "a per
Torrance of tParsifai,' apart from the
really religious surroundings of the Bay
reHth theatre. would almost amount to
profanity and, again that IN the ar
official glare Of an English opera house
IL would be a biasDhemous mockeryt'
which caused the critic of the London
World 20 retort.
IN front Of the Rayreuth theatre. on
the right there is q restaurant on the
left there Is a sfilI larger restaurant ana
q sweetstuff stal.. At the back. a little
tween the cafe and the theatre there is
& shed I'm which artificial glare Is man
ufactured for the inside Of. the theatre
and the sound Of that great steam engine
still nights. Between tie acts the three
restaurants are always full. not of de-
vOut WagneTites tthe Baeister advocated
Negetaria nisml, but of SpieFs q Pondites,
who do just what they win do II the
star and Garter, when my Festpielhaus
on Richmond HAl is finished The little
promenade in front OF the theatre Is
crowded with globe trotters chiefly
american and vagabond English. quite
able 10 hold their aWn in point of vui-
garity frivolity idle curiosity and other
perfectly harmless characteristics with
the crowd in the foyer at CoVent Garden
or the Paris Opera. When they hare
IA