New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-30

ton had conferred upon him. I an
Glad to set that down TO his credit. In
the early summer of 1854 or 1885 |
spent an afternoon with him at the
home of one of his friends in beau
tiful old house overlooking the Hud-
son. We talked about music, of course,
and ! asked questions about Major
Higginson's undertaking. Mr.. Henschel
was enthusiastic in its praise, but laid
much more stress on what the orches-
ira had done for him than on what he
had done for the orchestra. Il had little
or no experience in conducting when J
took the appointment he said, and
shall never forget what il did for me. !
learned more in SIX months in Boston
than | would have learned in as many
years in Germany That was good to
hear. Many foreign artists have en-
joyed American hospitality since and
have repaid it by caluwnics concerning
the state of musical culture which
they found in the principal cities Of
the States. ! once challenged Felix
Weingartner TO repeat the thing
which he had just spoken at public
dinner concerning popular appreciation
Of symphonic music in New York IN
the article which he said he intended
to publish in "Die Musk" on hi re-
turn 20 Berlin. lie promised, and he
printed an article on America, but
looked in vain for anything even
remotely limiting at the encomium
which his lips had voluntarily ut
tered. That was s.ica.ly
German When the Manncrgesang
vcrcin Of Vienna visited Ne fifteen or
twenty years ago the conductor. who
was also critical writer for a
Vicnnesc journal, spent his time in beer
drinking at Commerce, and on his re-
turn home had lot Il word 10 say about
New York's musical institutions, but
scotfed at the art taste OF Americans
and said their appreciation OF music
was summed up IN admiration Of Gre
atoro and his band. Creatore had been
an object Of diversion 20 the musical
public OF America a season or so be-
fore, and at that very moment his
larChable calisthenics were cvokinS
wild enthusiasm in German cities.
Richard Strauss was no better than his
Niennese confrere.
The Coming of Gericke
When Henschel would no longer
serve Major Higginson imported Mr.
Gericke-imported him, by the way, on
the advice of Epstein, who must always
live in grateful memory, not only for
that act but also for having turned the
activities Of Nine. Sembrich from the
pianoforte into the song field. Gericke
was then assistant conductor at the
Imperial Opera at Vienna and conduc-
tor of the Gesellschaft der Musk
freunde-a post afterward filed by no
less man than Brahms. Gerickc was
young, enthusiastic, conscientious, en-
ergetc, stickler for precision, an
artist with keen and highly devel-
oped sense OF euphony, good deal
of martinez, but the best man in
the world, MS it appeared, to lay
the foundations for the finest
pand in the world, as I believe the
Boston Orchestra became under
his training and that of Niklsch,
who followed him in five years. Now
Major Higgirson's policy Of giving his
conductor a free hand in everything
bore fine fruit. Mr.. Hensche had been
content with such personal material
as he could find in Boston; he built
on the foundations Of the Harvard
Musical Association. In Mr.. Gercke's
second season (leS5-'S6) he brought
fifteen artists from Europe to recruit
the orchestra. replacing incapable men,
at the head Of them Franz Kneisel,
then STRIPPING, but already an ideal
concert master. Gericke and Kncisel
had their will with Major Higgirson.
They had but to recommend and he
fulfilled their wishes. A case in
point: For the sake of sorority. and
possibly uniformity in quality of tone,
the string players of the Vienna opera
all played on instruments made by one
luthier-L embock Not all had good
viols, and it was thought that even
old Italian instruments, effective in
solo work and in small rooms, did not
fill the bill when there was a large
ensemble in large hall. SO the men
were provided with new instruments
by an Austrian maker. The matter
was brought to the consideration Of
Ma jor Higginson, who ordered that the
experiment be tried forthwith. he wrote
to Professor Grun, who selected MY
violins, violas and violoncellos from
the stock of a maker named Iach and
they we're sent to Boston. The cost 10
Major Higginson was $4,000. After
trial the experiment was abandoned
and the useless instruments went INTO
the lumber room of the music hall
where, believe. they still repose. Per
haps they will become the property OF
the orchestra under the will OF Major
Cancellation of Contract
Other experiments added TO the an
nual losses which the orchestra in
Cured. After Mr.. Gericke's term of
five years had expired Major Higgin-
son tried to secure Hans Richter as
his successor. Richter hesitated, ac-
cepted. went TO Leipsic to sign the con-
tract to avoid complications and costs
in Austria. signed, hesitated again and
then declined TO come. In haste Paur
was engaged in his place, the contract
being for FIVE years, with an option
Of FIVE more. Psur's usefulness was
exhausted at the end Of the first term,
and It cost Major Higginson $4,000
70 again I'LL the position for Gsricke, !