The San Francisco call., 1910-05-09
WAGNER'S Music
SWAYS AUDIENCE
DamrOsch and His Symphony
Orchestra Prove Masters of
Work of Great Composer
"lSOIde'S Death" Proves Feature
of Opening Concert of the
Weeks Festival
By WALTER ANTHONY

TINE was when the score of Tristan
and Isolde" was held to be for musi-
clans only. 1t was looked upon with
doubtfulness by the musically un-
trained and avoided in favor of lighter
operas" suspicious that it was a form
less work II not altogether void, were
fostered and encouraged by mighty
critics long since forgotten except for
their antagonism to Wagner. Compre-
hension Of the music drama was lims
itcd 30 "a few. That was 80 years ago.
Yesterday a mixed audience of profess
sionai musicians. theorists. singers. in
strumental.sts ard just plain, everyday
folk who love music gave to excerpts
from Wagncr's greatest opera an al
most unanimous enthusiasm.
The Tristan" excerpts were the last
number on the Wagnerian program
which W2!tcr Damrosch and his New
York symphony orchestra played at the
first concert Of the weeks festival Of
music which VIII be provided by the
big Gotham organization at the Gar
rick thcatcr.
PRESENTS GREAT HEART SONGS
What contrast "Isoldes Death set
81 the memory against the disconnected
melodies OF The older operas. The or
ganic un.cy OF the Tristan" numbers,
the intrinsic musical value Of every
phrase. the orchcstration which throbbed
and murmured or rose 10 grand blasts
OF brassy harmOnies-hOw they con-
Irasted with the cOncatenation of arias
Of tinkling recitativei Damrosch pre-
sented the love music" from the op-
era. the greatest heart songs ever writ
ten, "Brangane's Warning" and "IsOlde's
Death" With fine discretion he pre-
ceded tire Tristan" music by Wagner's
study Dreams, which was a sort OF
sample Of Magner's revolutionary malO
dies and unhampered harmOnies which
in Tristan and Isolde began a new
era in dramatic music Saslafsl1y, the
first violinist played the study" with
siugularly broad and melodious erect.
His tone was resonant, fun and large,
and his sympathy for his task made
the result d striking example Of pure
subjective art.
Nine. Anderson, Reed Miller and Nine.
Van der Neer, soprano. tenor and con-
tralto soIOists with the orchestra, ap-
peared in the roles Of Isolde. Tristan
formance of soprano and tenor was
particularly effective, "Brangane's
Warning being somewhat too far out
on the great sea of Wagner's genius for
Nine Van der Neer 20 venture success
fully "Isolde's Death" was the great
est as well as the last OF the after
moons presentations. With reference
10 describing il. 1 feel something as
Reed Miller doubtless felt in interpret
ing the Prize Song" from Die Meis-
tersinger" yesterday. Few could do
justice TO the description, and fewer
stin could sing that great lyric. Miller
was much better in the Spring Song,
from Die Walkure." which ne sang
with smOothness, elegance and intelli-
gence. though without the vocal splen-
dor that could find ample place in this
exulting song Of youth.
AIadE. ANDERSON An ARTIST
Nine. Anderson sang Elizabeth's aria
from the second act Of 'Tannhauser'
and 'Elsa's Dream from "Lohengrin," :"
IN both Of which she confirmed the fine
impression that she created Saturday
night at the Greek theater. She is an
artist OF extraordinary powers of voice
and ima gination. Her tones remind one
Of Gadskis, whom she resembles ply
sically. Wagner's luscious melody to
the evening star, from "Tannhauser"
was u well loved acquaintance cuarfn-
5ngly reintroduced by Marcus Keller
man, the barytone soIoist, who divided
vocal honors with Nine. Anderson. In
al Of the song numbers the orchestra
was present with harmonic support and
theme suggestion adroitly mingled by
the graceful yet aUtOcratic baton in
DamrOsch's right hand.
The only reasonable criticism that
could be urged against the forces at
the Garrick is q lack Of string strength.
10 doubt. however. a fun complement
of first and second violins-10 or p
more at least-would keep the orches-
rra away from the far west by pro-
ltibitivc railroad charges, so let US be
grateful to the six second ViOlinists and
the eight first whom we have in our
midst and to Impresario Greenbaum for
his tcInerity IN getting the big orches-
ira here without a dancer to interpret
the music