The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1904-01-17

cert performance under the title OF 'Wald-
webben." Wotan's kindling of the magic
fire I'm The Nalkyrs," the movement OF
the Rhine and the creation of the rainbow
in THE Rhinegold," the transformation of
scene from a forest glade 10 the Interior or
the Grail castle In "Parsifal.' In these
symphonic inscriptions Wagner got as near
TO nature he could with his burden OF
philosophy Of salvation by negation." anti
Semitism. political dogma, theory of all
arts united and the rest OF his notions
TO the reconstruction OF the universe.
Why shouldn't the truly musical parts
of Nagners works be cut of from the
system" and performed in the concert
hall? Perhaps Mr.. Damrosch IL a step i'm
advance OF the Metropolitan Opera House
and isn't aware of IL. And perhaps If the
public, In the number of about 1900. con-
tinues TO attend his concerts he will change
his mind. The effect is fastened by his
using English versions of the Wagner
librettos in his concerts.
Z =
Just as an Illustration Of what may be
got out Of the system" it may be added
that George Bernard Shaw found IL a huge
exposition of Socialism. Mr. Shaw, Of
course. is OF a cleverness that could find
Friedrich NietZsche's philosophy of be-
yond-man between the lines OF Mr.. Riley's
verses.
II Is not often that foreign musician Of
fers his wares In 1.-THE provinces" before
he does so in New York; ii is the general
managerial assumption that the prestige of
metropolitan approval Is necessary TO sue
cess In the smaller cities OF the United
States. But Mr. Pablo Casals. Spanish
vloloncellist, who made tour OF the coun-
try with Nine. Nevada three years ago.
did not at that time play In New York, and
he was heard here on last Tuesday after
noon for the first time. His success was
immediate. The occasion was the first
concert OF Mr.. Sam Franko's series of pro-
grammes OF old music. Mr.. Casals played
Haydn's concerto In major. Haydn
wrote several cello concertos, but this is
the only one that survives on the concert
platform As Mr.. Casals played it, one OF
its two cadenzas was OF his own compost
ton. The principal use of the cadenZa in
a concerto is 10 give opportunity for dis
play of the performers technical prof.
cheney. and Mr.. Casals worked over the
finger-board OF his instrument with a start
ling facility and rapidity.
Mr.. Casars technique is indeed impecca-
bly, clear and fluent, and fortunately he
also has n delicate sense OF melodic and
tonal beauty. He and Mr.. Thlbaud are III
companions and they are to play together
next month at Carnegie Hall. They should
have Mr.. Paderewsh with them, but the
pianist will be Mr.. Felix Weingarthem. of
Munich. who is coming TO conduct a Phil
harmonic concert, primarily.
Mr.. Franko's orchestra played a SYM
phony composed by Mozart In his youth. a
concerto by Bach for three oboes, two
horns, bassoon and string orchestra, and
two delightfully."- pensive dances, one by
Lully Q633-16SD and one by an unknown
Sixteenth-century French composer.
Russian musicians living i'm New York
have organized the Russian Symphony So
ciety Of sixty players. and the first concert
OF a series OF six has been given at Cooper
Union. The principal feature of the pro-
gramme was Rimsky- KorsakOw's suite
'Sheherazada," a musical rendition OF the
Arabian Nights" which has been on Mr.
| Thomas's programmes for several years
The new orchestra marked the Slavic syn
copation with the emphasis of abandon,
but il did not give promise of adding, in
later concerts, the further qualities neces-
sary TO Interpretation of the compositions
OF the greatest Russian composer, Tschai-
kowsky. More rehearsals may tell differ
ent tale.
In the same week. the Philharmonic So
ciety was conducted through Tschaikow-
sky Fifth symphony by Henry ]. Wood OF
London, musician of fine skill insight and
sympathy through whose agency Tschai-
kowsky has come into his own in the Eng
fish capital.
HORACE LANCASTER