New-York tribune., 1921-11-06

| ~A~AA "AssA Suo pIoCehS unreal
ans to go lame with his intellectual or
reflective ability.
Inherent in his nature, however, is
the Snowman as developed by the
mSterislistic tendency OF modern life.
he believes In advertising, and the
modern methods of advertising. He
knows how to make his wares talked
about and is not overscrupulous in his
use OF methods. Ee does not hesitate
to proclaim good opinion Of himself,
evidently believing that only rascals
and ragamuftins arc modest, and that
whatsoever bloweth not his own horn
the same shall not be blown" He de-
ciares himself to be tho hero OF his
own gloritication of heroism by quoting
himself in ga HERDS Life;" he sets
himself down as second Richard
Wagner in his opera "Feursnot." He
subscribes unhesitatingly to the doc
4 trine that the world wants to be hum
bugged; We have evidences in plenty
of that.
rho Family Group in
The Domestic Symphony
When the "Sinfopia donestica" was
about to have its first performance, or
his first visit, eighteen years ago, Mr.
Strauss told MIR. Richard Aldrich that
it was not to be heard as program
, music, but as music, pure and simple
fet year before he had told G., eng
lish writer that the symphony was de-
lineative cf day in his own life, was
autobiographic in a sense, and that it's
themes stood for papa, mama and the
baby. Before meeting MI. Aldrich he
had gone further in conversation with
some of his friends, had. indeed, told
them they might look or listen for
game of sAat in the slow movement
and in the last hear a controversy be-
tween pepa ard mama concerning the
proper temperature of baby's bath.
Persons Sho were privileged to peep
ioto t,e autograph score saw there
write Indications that the composer
had not only dclineAted papa, mama
and the baby, but also given expression
to contradictory comments of unclea
ard aunis on baby's appearance, ity>
likeness to the one or the other OF it's
parents.
Now, to put into music a father,
mother and child, game Of skat,
difference cf opinion about baby's
features, discussion concerning the
relative merits Of hot and cold water
as a medium of snatutinal ablutions,
eaoy's naUghtiness, punishment and
sleep (perhaps some fancies heard
: more and uncomfortable things, such
as DR.. Strauss hinted at in his letter
about GILL Eulenspicgel,' and others
plainly intended TO be published in the
Introductory music 10 DER Rosencaya-
lier"-the music which prociaims the
moods and something more of the mo-
ments Immediately preceding the re-
lease OF the amorous STRIPPING from
the embrace Of the Hofmarschallin) is
/ possible only by arbitrary processes
4-tich are Ineligible only to persons
trained in the devices OF composers.
! Given title like "a Domestic SYM
phony," given the composers assurance
that Ac wishes the three principal
/ themes Of tho symphony TO be taken as
symbols of the members OF the house
hold, given the notion that figure
+ based on the themes is controversy
i q quarrel, il the fugue be made sonor-
Gus as tho. crack OF doom), and it Is
possible for the fancy Of the hcarer to
supply program to this compost
! ton. BY TO stretch of the intellectual
conscience can it correctly be said that
these things are the contents OF the
music, however, and By no stretch even
! OF a carefree and irresponsible imagi-
nation can the subject of the quarrel
symbolized by the fuguc be said to be
baby's bath. In the program notes
! of 6yr. Gilman We were told, on the ar-
thor!tv of London analyst, that the
! fugue was a discussion OF the chiids
future, 1t might equally we'll be OF
the infants misbehavior indicated by
the unsavory sounds which preceded
! and followed the interval of serenity
bounded by the seven bells of evening
/ and the seven bells of morning which
entered into the patiently realistic por-
| tions Of the score ana were of kind
with the imitation Of the twittering OF
| birds which WAS interrupted by the IN
fant's squalls.
! Red Hair as Subjcct
| For Composition
There is one thing about his CON
| duet in this respect, however, that can
not easily be understood. How is II
that he is willing to adopt the same at
titude toward his confreres in art that
he does toward the public, which is
excusably snllihle? Felix Mottl as
sured the writer of this article that
! Strauss had once asked him il he had
! not noticed that one Of the three
women supposed to be delineated in his
Don Juan" had red hair, and when an
swered in the negative had said that
/ then he must have failed in his effort,
for he had fancied that everybody could
recognize that For ourselves, we arc
frank enough to confess that we do not
recognize anything in "Don Juan" ex-
cept glowing piece of music in which
| . 4hu,,. x.-h;ch pcay hsya been aSSfni-