New-York tribune., 1907-01-23

who never used the device (Which he heard from
Piedmontese double bass player1. but recommended
1t to composers who wished 20 initiate IN the
orchestra "a loud female cry" Strauss In his
score describes how the effect is to be produced
and wants Il to sound Hike stsrtorous groans. IL
IL produced by pinching the highest string OF the
double bass az the proper node between the finger
board and the bridge and sounding IL by quick
jerk OF the bow. This Is but one OF a hundred
new and strange devices with which the score Of
saIome has enriched instrumental music The
oance employs vast apparatus but the Oriental
Color impressed upon II at the outset by oboe
ana tamoour remains as persistent as its rhyth-
rnlcal hsure, which seems 20 have been invented
marx the snucus 1exure Of the spine and the
swaytng OF the hips of the dancer Devfces r1ade
familiar by the symphonic poems are introduced
win increased effect, such the uluting OF the
enure army OF brass Instruments Startling effects
are OBTAINED by a confusion OF keys confusion OF
lhy INNS sudden contrasts from an Overpowerine
tutti to the strdulous whirxfng OF empty hfths on
the Voiins. trfl on ths flutes or a dssOnant NUT
Ter or the BASES. The eelests. instrument with
Keyboard and bell tone contributes fascinating sf
ieets and the xylophone Is used-utterauoes that
are IasciVious as well others that ara rnacabre
Dlssonance runs riot and frequently carries the
IMAGINATION away completely captive. The score
Is unQuestionably the greatest triumph Of -enec-
ton and ingenuity OF eontrivancs the literature
or music can show The invention that has been
expended on the themes less admirable.
Only the pompous proclamation Of the theme which
Is dominant in Joohanaan's music saves Il from
being called commonplace. hippsnt hunter Of
"reminiscences might find its prototype IN Balfss
6ohemlan Girl" There Is no greater originality
in the theme which publishes salorns's arnorous-
ness for the whits flesh Of Ioohanaan which time
and again shows its ktnship the antants melody
IN the first movement OF TschaIko1sl1ys, PA
thetQue" symphony. but becomes more and moro
Tansdgured in its passlonats iovelinsss when Il
aids the beatification OF the more than ghouIIsh
prlncess There is no escape from the power OF
the music when IL scars to grandiOss heights IN
the duet between Saloms and the prophet the sub
seouent intermszso and the wicked apotheosis Ie
overwhelrns the senses and reduces the nervous
system OF the listeners TO exhaustion.
IN a much less worthy oauss Mr.. Esrts and hts
artists In the production Of this work have
oomplished a greater task than they did IN bring
ing forward Wagnsr's 'Parsifal." All OF them ex-
cept Bfr. Burrian were penetrating a field that
was as difficult ss Il was nav and strange Mms.
Fremstad accomplished miracle. A sleek tgress
with seduction speaking IN every pose, gesture,
look and utteranoe. she grew steadily into the
monster which she was whsn she sank under the
shields OF the soldiers while the orchestra shrfsssd
its final horror and left the listeners staring at
each other with starting eyebaiis and wrecked
nerves. There Is no parable, IN opsratio oharao-
terizatton for Burrian's Herod- Van Rooy was lit
tie else than voice. but a voice that nlIed soma
moments OF the play with aws-nspir1ns solennity.
Picturesque and convincing were Mr. Dippars I'M
personation Of Narraboth. and Msssrs Re1ss. Baysr
Paron. Bars and Dufrichs. Mr. Journst made the
brief address OF the first Nazarens sound like
echo Of the prophet Miss Weed was firm % a rock
IN the turbulent Of tonRlitiss which ragged
around her. and gave ample dsnotsmsnt TO the
cold and implaoable wife OF the Tstraruh. Nina
JaoobY, as usual, was an automatically vocal lay
figure. AS for the praise deserved by Mr. Hsrtz
for preparing the work and guiding his 40
artists through It's lahyEinths ., can scarcely be
pitched IN too high eloquent kay. u was ths
accomplishment OF sorasthing near miracle
X e. K