New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-09-26
Bispham to Produce
Adelaide" Musical Play
Purports to Dcneatc the Romance OF Beethoven and
Countess Gucciardi, but Is Based Only on
Fancv-A Concert Disguised
IL +
By II. f. KREHBIEL

From Mr David Bispham comes an
announcement a. once gratifying and
doplorable gratifying in essence and
deplorable in matter and manner. De-
parting from the well-troddcn path OF
concert glvers. lie will tins season pro-
duce the little musical play called
"Adclasdc.' which he adapted from tne
German and brought forward some
wears ago with thc help o. the opGlent
Miss Julia OPP. theu just coming mo
fame. Mr. Bi>pham has trickcd out
this play with music lu Che lntofpre'a. j.
ton of which he VIII have tho help OF
'bc members Of has concert company,
and q will be- given al the Harris he.
atre. New York. on the afternoons OF
October j.. ri. %. "a. % and 26. and
Will then be- taken 0u tour for the
season. SO far so COo0. Adelaide -
pleasant entertainment and its uncCn-
ventouaAty viii brighten concert
season which threatens 20 be heavy and
burdcnsomc Now comes tho dep.or-
able part O. the matter Mr.. Bispham
has pat out statement 20 supplement-
that o. h.s agent Here it is:
ANY actor who could az all look IKE
the great composer was only 900 g.ad
10 have ar opportunity 90 play TINS
part" referring TO the original
production OF the play I'D Ger
many fifty years ago; "Beethoven's let
tiers. his life and his loves were, ana
still continue 90 be. matters OF con-
slant interest and curiosity 20 those
who admire his music, and this play is
founded upon the attachment between
him and the Countess Julia Gulcciardl,
70 whom the Moonlight sonata was
dedicated. and in whose memory the
song Adelaide is. in the play. supposed
70 have been written. Before the play
begins. the strains Of music are heard
from the stage With the rise OF the
curtain the interior Of BeethOven's
lodgings in Vienna is seen. and the man
from whom he rents his rooms, a
vlohnist, IS. with his daughter, playing
one Of Becthovens violin pieces, the
Romance IN f. Later in the play two
Of Becthoven's songs are sung. one by
Clara, the lodging house keeper :
daughter, whose fresh young voice is
the only thing that Beethoven is stllI
able 20 hear. She sings 10 hlm the
well known Joyful and SOrrowfuI from
ERmont.' Later BeethOven's amanuen-
SIS. who is IN love with Clara. sings 10
her Bcethoyeu's song Of worldwide
fame. Adelaide At the conclusion OF
the play. after Beethoven and the
Countess have had d most affecting
scene, he is left alone at the close Of
day-the rays Of the rising moon fall
upon him through the window as he
stands by his piano. He pensively
turns and seating himself strikes
few chords and sings the opening
strains Of his own song, In Questa
Tomba His fingers straying over the
KEYS. he falls into the familiar Noon
light sonata Beethoven was known TO
be the greatest extemporist Of his time,
and in the play, as he sits alone in the
moonlight, his thoughts turning in
evitably toward the woman Of his
heart. presently there are heard the
strains Of his immortal song Adelaide
mingling with those Of the Moonlight
sonata as the curtain slowly descends.'
Much mischief is done TO music by
the sentimental slip-slop which TO
mancing biographers have written
about compositions, composers and
performers. Beethoven has been the
principal sufferer and the pianoforte
sonata in C-sharp minor. which Is one
Of the most original of his works, has
been turned into something Ike an IN
tellectual emetic by the slush called
forth by its popular title Moonlight
and the circumstance that IL was dedl-
Gated 10 a young woman with whom
Beethoven was for short time in love
Now the title Of the sonata never had