The sun., 1918-10-20

Beethoven's symphonies. They give
was born in Germany, although of
loyal son of Germany, and it il all 4,
he was an enemy Of kings.
These matters do not disturb the
artistic elevation Of the French musi-
clans. They play Beethoven and they
believe in him as an artist. II France,
bleeding. devastated, bereaved and
outraged France, can play Beethoven
ia 1t not a mean and pitiful opposition
that Is raised here?
The Kan on German Music.
This opposition thrives only with in
dustrious stimulation. Any disinter-
esteG observer oan without dfficulty
arrive at a fairly correct estimate Of
the public temper in regard to the
matter Concertgoers do not wish to
hear the German language. Singers
from time to time sing songs of the
classic German writer's with the orig
inal text and there IL no outspoken
hostility, but there is much unfavor-
allie comment in private conversation.
It will therefore be best to lay
aside songs in German till such time
as the bitterness Of this war has be-
come less intense. Certain German
songs, those which are not too. charac-
teristicly German, may perhaps be
sung in English. But why try to put
a ban on Beethoven's piano sonatas,
his symphonies. the works of Mozart
or above all Bach?
The French do not balk for an In
slant. They unhesitatingly play the
music Of all the old German COM
posers. They draw the line at the liv-
ing, and so should we. And they have
abolished Wagner for a special reason
which is very cogent. Those Germans
who are the incarnation Of the mill
tary spirit have selected Wagner as
the embodiment of the Teutonic ideals
Of world domination and have named
some of their mighty lines Of defence
after the characters in his Nibelungen
tetralogy. Because of this the French
have condemned Wagner's music to
Punishment. What a pity that when
christening their lines the Germans did
not remember the pointed words Of one
Fosoit to one Wotan:
Fliehe welt deinen Frieden,
Weisst du NIGHT often.
erlich und fret,
Vertraegen zu wahren die Treu'.
The first concert Of the famous
French orchestra at the Metropolitan
Opera House on Tuesday evening was
!naG equately discussed in this journal.
A mere sketch Of impressions was
given. Yet retrospection serves only
tinct- The second concert tonight
may grave them still more deeply on
the memory.
French School OF violinfsts.
Doubtless what in a measure aston
ished some OF the hearers at the first
concert was the quality Of the strings
Of the orchestra, The Metropolitan
Opera House Is not favorable to brill
fancy Of tone In violins and their as
sociate instruments, and on Tuesday
evening the auditorium was literally
swsthed in bunting. Nevertheless the
strings gave forth a tone Of crystalline
purity, OF luscious sorority and aerial
transparency.
We are prone to forget the high
achievements OF the French school of
vtolinists. 1t descends lineally from
Leclaire. who was a pupil Of Corelli.
but we must remember also the valu-
able influence OF Viotti, who lived and
taught for some time in Paris. When
one follows the line OF progress some
what further one comes in time to
those two consummate masters of
technic and finish Of style, De Beriot
and Vieuxtemps. The latter was the
teacher OF Ysaye. who still preserves q
most enthusiastic admiration for his
master.
Think also OF Ballot. who taught
Alard and Leonard. two of the best
or the French masters, themselves In
turn teachers Of famous players. AL
ard was the teacher Of Sarasate. Mar
sick and Dengremont studied under
Leonard. So did our own Franz Knel-
sci.
But 1t is not important to go fur
ther The Paris Conservatoire has
long been one Of the two great Euro
pean schools OF violin. The other fell
victim of the rage OF the devouring
wild beast that has ravaged Europe.
Ihis was the conservatory of Brus-
selS, where the traditions of the pure
cie >sic violin style were preserved with
pous devotion. A great music school
was the Brussels Conservative, great
not only in violin instruction, but In
the loftiness and breath of its artis-
NC influence in all directions. Like
the rest OF brave Belgium, It will
surely rise triumphant from its own
ruins.
once upon time. as they say in the
most veracious OF all histories, an
Important document popularity called
copy disappeared from its proper
place In newspaper ONCE. and on the
IoHowing morning the Journal was
MADE unhappily conspicuous by its
omission. Whereupon the able editor
ordered court Of inquiry to ascertain
'he reason for the said disappearance.
And the finding of the court was
'hat the office cat had eaten the copy.
That Missing Poet.
Since that historical moment all sins
OF omission are put upon the sleek
ana undulating shoulders OF the Office
pussy. Where the cat may have been