The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-01-08


hood, not with the subtle intellectual power
Of a feound mind, but with elemental passion
itself, reused by the physical attractions OF
a temptress skilled in the use Of her feshly
charms. And the voice, too, played its
part In the scene, for Miss Fremstad's
singing was something to be remembered,
even though some Of the notes were too
high for her.
Her warbllnE voice, Tyre Of widest range
Struck by all passion, did fall down and glance
From tone 10 tone. ana gded tnro' oil change
OF nveliest utterance."
This KaHdry OF the garden Is the queen Of
all wantons. 1t is useless to .ry TO prove
her other than that But n wanton may
have more than one method. Hero have
been three splendid artists, each presenting
different embodiment Of the arch tempt
ress. But let II not be supposed from this
all too brief survey that Miss Fpmstad
| neglected TO show tenderness and subtlety.
Both we're present in plenty in her imper-
sonation, but she saw clearly that for her
with hsr 1.-the form and her eloquent face
the possibility OF placing in the foreground
tho physical seductions Of kuHdry was al
most mandatory.
She will doubtless deepen the intellectual
subtlety Of her conception as time goes on.
and she will probably learn that some Of
the gestures she now uses haze no real
Significance She will also come to under
stand that her facial expression Of astonish-
ment sometimes takes a quizzical cast
which brings il perilously close to an eN-
precision ~ humor
But all in all her kunGrp is remarkable
achievement Perhaps nothing carried with
il more conviction tran the fact that. bar
ring the difficulty Of the upper tones, her
voice WIS perfectly suited IN quality 10 ire
communication of the emotions behind the
music. certain sensuous warmth OF color
which cannot be described Is in this voice,
and it carrie, with II sousuous cdress IN
every tone
Bayreuth in It's fist year of -Parsial
offered for consideration the impersona-
tons of Materna, Malten and Brandt in this
r6le II is quite safe TO say that in the two
series OF New York performances at the
Metropolitan the average kundrg has been
gnuoh better than a Bayreuth IN 1882.
The death Of Theodore Thomas at the
first glance looks like a fruitful subject
for comment. But, after all, II suggests
"reminiscences rather than discussion
quarter of century ago Mir. Thomas was
vital and essential figure in the musical
life of the United States. Forty years ago
he was a pioneer. The labors OF Mr.
Thomas and his associates in the old cham
her music organization in which DIR Mason
was the pianist we're of incalculable value
il making known to this public the most
intimate form of musical communication.
But Mr. Thomas will be remembered as
n conductor. not as chamber music per-
former He WA the first person to give
the idea Of substantial organization TO
an orchestra in this country and the first
TO challenge consideration OF his personal
readings Of masterpieces
II is true that the Philharmonic Society
existed long before the Thomas Orchestra.
but it was then, as 1t is now, body OF
irregulars, called together for few solemn
occasions In the course of a season, subject
to many and unexpected changes. 1t was
not then any more than IL Is now tho in
str1raent for the pr olication OF one fuen'S
ideas.
The Thomas Orchestra in its day was
what the Boston Symphony Orchestra, the
Philadelphia Orchestra. the Pittshurg Or
cbestra. the Chicago Orchestra are now.
1t was their avant courier. 1t was the
first PRONUNCIATION of the artistic idea on
which they are founded. IL represented
the conception Of permanent and thor
oughly trained band. playing constantly
together and disseminating the musical
convictions Of a single mind.
The significant achievement OF Theodore
Thomas was the establishment OF that
understanding OF the term orchestra in
this country. Next to that he earned the
gratitude Of music lovers by his insistence
that the public should learn TO understand
and revere the genius of Sebastian Bach.
Mr.. Thomas played Bach persisten'ly.
knowing that il good music is but heard
often enough it will convince,
Mr.. Thomas was also an ardent advocate
Of Beethoven, but in his reading Of the
master symphonist he stood on less stable
ground His interpretations we're on more
than one occasion challenged, and in some
instances we're proved 10 be Numerically
opposed to the text. Certain alterations
made by him in the phrasing Of the seventh
symphony we're perhaps even more OBJ
lectionable than his much discussed trans
position OF the last movement OF the ninth
symphony because singers found difficulty
In dealing with the high voice parts.
But these are the offences of a man who
ras treadng in high PLACES and who, if
opinionated. was unquestionably a sincere
artist. 1t can be said Of min that his viii
ftllness never blinded his eyes 70 the merit
Of novelty He made TschaiSovsSy known
to us and he preached Brahms with sin
certify. If not with fire. He even grve Ameri-
can composers opportunities 20 be heard.
When he loft New York the significant
labor OF his life had been completed. In
Chicago he simply repeated what re had
already done here. His work in New York
had paved the way for the Chicago
Orchestra. as it had for all the other psrma-
nent orchestras now fiourishing in this
country. Chicago enjoyed the admirable
services OF Theodore Thomas. the inter
prefer and the master y drill officer lhco-
dore Thomas the pioneer and founder was
no longer necessity. He basked in the sun
light Of the clearing be had hewn out.
As he lies at rest let Il. then DO remem-
bered that he was tho father Of the perma-
uent concert orchestra in America ano
the first conductor Who by reason Of the
existence 81 such an orchestra WAS able
TO rns, himself % the position Of an au-
thoritatiye iuterpreter Of the classic,