New-York tribune., 1907-06-23

lad Mr. Heuberger omitted his reflections on
an sociological and political subjects, one might
t'eFe Deeh tempted to inquire when and where
ne made the observations from which he drew
such extraordinary deductions But II is nIain
as a plkestaf that he observed nothing hut
eFoIVed everything out of his inner conscious
ness aided, perhaps by the beerhouse CONVEX
sauon OF his countryInen encountered on this
sue or the ocean. Or did he really see starving
lhulans roaming the streets Of New York WASH
ihgton, Baltimore, Philadelphia and milwaukee,
turned away athirst and starving from hotels
parrooms and eating houses? We have heard
ei4"t many Elennese are persuaded that the red
savage sui roamS through the fields and skuks
III the wood paths of New York Citv Plainly
MT. Heuberger is one OF these; and also plainly
M visit with the M3nnersesangverein did
nothing toward his enlightenment How could
II! The feet of our visitors last May were
scdrceIy permitted to touch American soil.
Ahelr waking hours were spent in concerts ban
quetS' commers, in automobiles and railway
udlhs Ihey saw Indians probably but it was
III the Hlppodrome, and possibly Coney Island.
nose VINO followed their movements during
oleIr prlef and whirlwind stay with US can tell
or receptions by the Liederkranz Arion and
Austrlan societies; two concerts IN Carnegie
Han and visit TO Coney Island but not Of the
inspection of q single museum or other public
institution. AS to such bands and conductors
as MT. Heuberger describes, he neither saw nor
heard them. Creatore who is a European prod
ucl OF comparatively recent Importation was
giving concerts in London while the Viennese
were here, unless are grievously mistaken.
ana Creatore is alone OF his kind The story
ABOUT Sousa wearing costume like that of the
operate John of Leyden is q silly fabrication.
6ut brass bands and their conductors are not
factors In the sum of American musical culture.
III Germany writers on musical topics are.
rule divided into classes-historians, who
write on historical questions; theoretcians who
discuss musical science and critics who write on
current affairs in less the feuilleton vein
Dr. NeitZel of the Cologne Gazette wi.o spent
the last season lecturing and giving pancforte
recitais in this country, is a much tcavelled.
Well read man, but IN conversation with a New
York colleague he said: 81 surprised at the
wide horizon of the American writers: they
Write on theoretical and historical questions
Wen as on current performances. / do not
trouble myself about historical matters II 1
want TO know something IN that line l go to DR..
Prieger, CT Bonn that's his business" Mr.
Heuberger is q conductor a composer and q
musical feuilletonist. Had he never come to
America he might have disseminated nisin-
formation about musical conditions here IN the
manner OF his fellows 10 his hearts content
without eVoking word Of comment from
unless in the way Of pleasantly; but he is now
posing as one who speaks from observation and
his readers viii And confirmation of their igno-
rant opinions N what he says. Were they with
In reach IT might be q pleasant pastime to ed-
minister 10 them and him q rudimentary lesson
in musical history. Suppose 1t We're to take the
form OF comparison between the musical
tivft!es OF some American and German cities
Mr. Heuberger evidently thinks that orchestral
culture began IN the United States with the
"GeriCke Orchestra" in Boston The "Ciericke
Orchestra" by the way, was the Muck Orches-
ira" when our critic here, and Mr.. GeriCke
was enjoying his Otiunr cum dignitdte as re-
tired conductor in Vienna, the OF his labors
when Mr.. Heuberger first appeared in the musi-
cal field. Were he OF inquiring mind few
minutes conversation with Mr.. Gericke might
nave brought him much enlightenment on the
subject of the ege. the extent and the kind OF
musical culture prevalent in America The IN
situation that thus far the Boston Orchestra
has taught Americans only to pay for good
music, not how 10 enjoy 1t. is too silly. 1t is
too contemplate ior comment. How long has
Vienna been paying for orchestral music OF the
came character? Longer than Boston. truly, but
aot lauS New York Tho representative
orchestral oody IN New York is the Philhar-
Inonlc Society the representative orchestral
concerts n Tienaa are the Philharmonic con-
carts. Goth we're inspired by the Philharmonic
Goc!eoy Of London. q society organized by the
Secpls wto Grs by T.ature unmusiCal, Mr..
Se.tb1-Ger THINKS that their influence has held
eacx the progress II music II the United States.
hut Yst society .FidcS commissioned Beethoven
70 pGcngcSa rue Htcth Gyniphony and extended
neic &C -he TrsFI .naa!cicn On his deathbed; a
soc1S1y 93.sh 3rorzbt Wagner 20 London To
conduct 7ts concerts hfty two years ago; a 30
clsty watch had Heen in existence nearly full
ge1GrkHon before the Philharmonic concerts of
Vienna we're called into life. The London Phil
hGrnoaic founded in 1913. There were at
the time 40 public symphony concerts in the
Austrian capital. though It had been the home
OF Haydn. Mozart, Beethoven and Schubert In
1888 Wncepz Lachne. gave a few subscription
ccncerts 5ut they vera without organization or
stability. The Philharmonic concerts were
founded by Otto Nicolai in 1912. The same year
saw the organization Of the Philharmonic So
ciety OF Rev York.
But note the difference in the activity of the
two organizations. The Philharmonic concerts
oe Vienna, according to DR.. Hauslick's "Ge-
schichte des Concertwesens in Wien" were the
first meetings of their kind in which the public
OF Vienna heard the symphonic masterpieces
played with spirit and technical perfection by q
capable band, trained in ensemble playing, hay-
each instrumental choir, under the direction of
young intelligent and energetic conductor.
The first Of these concerts took place on No
venber q, 1912. Eleven days later the Phil
harmonic Society of New York. which had been
founded more than six months before gave its
first concert, opening the programme with
Beethoven's symphony IN G minor, which was
not a novelty either to players or hearers In
four years Nicolai gave twelve concerts He
then laid down the baton. One Philharmonic
concert was given in 184S, one In 1849, and then
the institution went to sleep for five years. when
it was aroused by Carl Eckert. The New York
society gave three concerts in its first season
and for each season thereafter till 1859 then six
then eight Each Of these concerts has been
duplicated since the second season by a public
rehearsal, and never has a concert been omitted
How came Carl Eckert to revive the Vienna
Philharmonic concerts IN 1854? Two years be-
fore he had been in New York as conductor of
the Jenny Lind concerts. and been elected hon