The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-18
Men Of

OF OhheE Gays Wherever you may De-
Il remember during one of my trips
to London with the Glasgow select
choir. taken from the Choral union
FOR travelling concert purposes, I had
the JOY of accompanying the great SAINT
ley. I'll never forget him He was a
large and hearty man; full of the milk
OF human kindness and of that courtesy
that comes of good digestion and a
fine conscience. After the number was
over and I had stepped from the plat
form. Santley came up behind me, and
gave ME a slap on the back He didn't
calculate on my lack OF size-I was
small once--nor on his own tremen-
dous strength. The slap, which was
his way Of complimenting me, sent
me sprawiing. So I got an apology
as well as compliment from santley,
and that made me a very proud, though
somewhat famed boy.
Other great artists whom l accom-
panied at different times when the
choir went to London TO give con-
cert We're Nine Patey Antoinette
Stirling; signor Patti. the great cell
list; Signor Foil the basso; Clara Sam
ueIs. and many another maker of music
whose names are going into musical
encyclopedias. but are otherwise being
forgotten"
One of McGhie's first engagements
in this country was as director with
De Angels, in production of sullivan's
Emerald Isle" Sullivan died before
the work was completed, and Edward
German. with whom Sullivan's theo-
ries and art were in sympathetic con-
cord. completed the opera.
1T was not altogether a failure in
this country" said McGhie. but it was
far from being a great success. The
producers just about got their money
back and paid salaries. But it was
beautiful work. and should live.
Like Charles V. Stanfords Irish
opera. .shamus o'Brien. it had but
a tentative success. though the beauties
of both works are great indeed.
The Englishmans music is apt to
be stiff. formal and unyielding. though
correctly written and logical, with CO.
herence. Stanfords music in this Irish
opera has grace and spontaneity. 1t is,
I should say. too good for general
consumption"
ND that reminded Mr.. McGhie, who
A thereupon began an interesting
monoIogue on the tendency of
modern musical entertainment.
The taste Of the public" said he,
seems to be more and more for the
frivolous in tone Musical comedy has
succeeded comic opera, and buffoonery
has assumed the place of serious mu-
steal effort.
The Merry Widow is step in the
right direction, and is doing much to
bring the public 10 its musical senses.
For the opera is well written by mas
ter of his art; it is tunefuI throughout;
the waltz by no means represents the
best music that Lehar has given to
The Merry Widow; the orchestra is
well handled by the composer and alto
gether the piece is satisfactory from
musical point of view"
"of how much of that is the public
conscious?~ / asked.
Il don't know" said he. Perhaps
not much. I feel from the orchestra
that mighty little attention is being
paid to some of the best measures in
the opera; but that is to be expected.
The plays the thing, and the music
lifts it along, WHITES 1t. gives anima-
ton to the action and pleases with its
merry brightness. Whether the public
ter. The people go to see it and to
hear it. The operetta is success, be-
cause its music is we'll written as well
as because its book is interesting.
Who cares whether everybody under
stands that Lehar has done some splen-
did writing?
But the style of operate writing has
changed remarkably within 10 years.
Look at the crowds that go to vaude-
vile productions. The race for exist
ence is keen, and relaxation at the the
alter is demanded by the multitude
which wants to be amused first and
above all things.
Victor Herbert is about the only ma
tive composer who has managed to
preserve the purity OF musical express
sion in the midst OF this demand for
sensation. He is really Viennese in
spirit and style. HIS nativity is half
Irish and half German. He was edu-
Gated in France and Germany That
makes him good American, doesn't
it,"
ERBERT. with whom McGhie has
been associated in the production
of many of his works-the last
one was Algeria the nearest
to writing grand opera. according to
McGhie, of any of the native makers
of light music.
Nearly every one of Herbert's fail
ures." said McGhie. nave been directly
due to poor books. Take, for instance,
his setting OF Harry B. Smiths adapta-
ton Of Rostand's drama, 'Cyrano de
Bergerac.' The grotesqueness of the