New-York tribune., 1908-01-28


the use OF harpsichord Cor, to be accurate, of
pianoforte made to sound like a harpsichord) to
accompany the rectatives the abolition OF the
chorus in the finale OF act: the change OF
tempt in few numbers the omission of the from
bone parts in the last finale and the deprivation of
Don Giovanni Of his female companions in the din
ner
Like Mozart when he conducted the opera in
Prague and Vienna, Mr. Mahler played the accdon-
paniments to the recitativi al cembalo, and also,
like Mozart. he occasionally added bit of adorn-
ment 10 the dry chords which ordinarily suffice
to buoy up the rapid musical speech and introduce
the key of the songs. He even did this In the
dramatic recitative for full orchestra which intro
duces Donna Anna's great air. 'Or sal che
Ionore." The tones of the altered instrument
blend with the orchestra better than those Of
pianoforte. and although the effect would be better
tas would the entire performance in a smaller
theatre, 1t is pleasing and grateful to the But
this like most Of the other changes. was inconse-
auentta in comparison with the revolution accom-
plshed by the conductor the matter of the
chestral part The instrumental music was an un-
1ualined delight, full Of exquisite wtchery and Won
derfully illuninatve of the sentiments Of the vo-
cal part
It is plain that Mr.. Maher is purist in the mat
ter of Mozarts music. Though the conditions did
not permit him to do it in the mise scene and
stage management except in small degree, he
made effort to get at and proclaim the letter OF
Mo5arts musical text, carrying his purpose, In
deed. little beyond the obvious line and into de-
batable territory The signal instances of this
were In the suppression of the trombone parts in the
fnale-the luminous dramatic page of its kind
that opera has to show, not even the Wagnerian
drama excepted-and the changes of tempo already
noted. 1t is old tale how Mozart introduces
the solemn troubones for the first time in the opera
TO accompany the rebuke addressed to Don Giovanni
and Leporelo in the churchyard: 'Di rider fncrai
pria dell aurora Ribaldo audace Lascia a moru
la pace. :" Beethoven is said to nave copied the
wonderful passage and kept 1t standing upon his
writing table. Since the first performances in vi
DIT any rate the instrument which Mendeis-
sohn is quoted saying too sacred to be used
often carelessly has blended its solemn voice
with the music to which the Statue and Don Giovan-
nj hold converse from the time of the formers
trance to the final catastrophe, and no one has
questioned the propriety and effectiveness OF
the proceeding Unhappiy for the peace of mind
of Mozart students. it has long been known that
the original parts for the wind instruments have
BEEN lost, and that those in in Vienna
tury ago were in foreign acknowledgements
ly that Of Sdssmayer, the pupil who, at Mozarts
request. completed the score of the Requiem
after the composers death. 1t is also that
the overture. which makes of the tragic
sic from the finale does not employ the from
bones From this 1t argued by Gugler when
he published his score based the autograph
manuscript that Mozart intended the trombones to
be heard only in the address of the Statue in the
churchyard- There is little force in the argument
so far as the overture is concerned. Mozart
altogether too great a master of dramatic climax
to anticipate in his curtain music the effect
made by the sudden entrance of the from
bones when the dramma glacosa takes a
tragic turn in the finale For century the noble
inspired by the music of the catastrophe and at
first it seemed If their omission left depora-
bic gap. but this feeling gave way to one of
amazeneslt at the wondrous power Of the simpler
orchestraxion. Now had another illustration of
the many which Mozart gave US of the tremendous
power which lies in the music itself when uttered
by scantes means than opera composer has
used since Mozarts day. in the harmony. the dread
syncopations and the awful mystery OF the scale
passages in the violins. Now it became plain that
Mozart did not need the trembones. and Gugler's
contention that he did not want them became con-
vincing. Bat the music must be read as MahIer
read It and played his musicians played It TO
produce that conviction.
The most noticeable variations in the tempt were
In the music of Zeriina-the entrance duet with
Masetto and chorus t"Giovnetti che fatte all
amore'D, the duet with Don Giovanni ola CT
darem La nlsnoO and the air BATH batti bel
Masetto." In the duet with chorus the fundamer-
tai tempo Wxss slower than tradition has aceus-
toned and in the duet with Don Giovanni
and the air the second parts were also slower
Students Of E3e score would have been at no loss
to for these changes If Mr.. Mailer were a
musician of ute reactionary or pedantic type In
the FIRST case the question of taste merely
and touching il there is occasion for discussion
The spirit Of Zrlinas wedding festivities has been
conceived heretofore animated. In the |
case of La ci -1areIn and "Ratt BATH the change
was caused by disposition TO adhere strictly to
the letter of the printed page neither instance
did Mozart Indicate desire for the change to a |
quicker pace which has been adopted universally
and found it's way into many vocal and some or |
chestraI scores With the '-Andiam. andian1 nio |
bene' of the hset, and the Pace. pace o vita |
mia of the air there is change from triple TO !
triple time (6-s) and Mozart's score |
would to indicate that he thought this change
sufficient point. the in sentiment be-
tween the first AID second parts. But the feeling
of singers and listeners for generations has been |
at variance with this notion. Zerlina 3 consent
accompany the Ebertine is reluctantly won, but
once given is given fully and celebrated with
joyous outburst. SO is her conquest Masetto's
hand and forgiveness in the air. Here the publica
ton of the mood felt alike by singers and lis
teners ought not to be estoppe4 by devotion to
literaness. Last night there was some elasticity
in the duet which last Thursday Mr.. Scott as if
fearful of the slugsshness which would ensue i'll
the second part II the fundamental tempo was |
adhered to- started surprisingly quick mace.
but Zerlinas happiness the reconciliation with
her husband found expression in the music and |
no echo in the audience- There is nothing in Ger |
man literature with which familiar COM
parable in enthusiastic appreciation of Don Clio
vannt' with the little book which Gounod contrib
uted on the occasion OF the operas centenary in
1887 The score which he used the basis of
his study evidently one which had been
provided with a desiGnative allegro. in both the
eases under discussion Gounod accepted the mark
n the duet but with a finely discriminating feeling
suggested alegretto INSTEAD of allegro fer the sec
md part OF the air. The change would be, there
ore that indicated by the difference between an
iante grazoso and allegretto and this, with the
change to 6-s would meet all the exigencies Of the
,ase. Like many German conductors, Mr. Mailer
.onceiyes all slow tempt slower than they used TO
,e conceived before Wagner wrote his brochure on
conducting very much 10 the surprise of those who