The New York herald., 1922-03-05

musicians most important ideas, one
is not astonished. Trombone and pic
colo solos, horn duets. triple voiced
fanfares on stopped trumpets and
forge hammered rhythms on various
tympani, cymbals, snare drums and
other noise makers pass before us in
true bacchanalian disorder, leaving us
almost stunned and surely confounded
II this represents the brotherhood of
man then let US hasten with all speed
to the flowers and the beasts of the
field.
1t is unnecessary to enter further
into details The simple truth is that
the entire symphony is characteristic
of Gustave Mailer, whose aspirations
were always magnificent. but whose
inspirations were those of the mid
night oil.
It has been made formidably diff
cult to write dispassionately about
Mahler. Remote, inaccessible. self
centered and inexhaustible in his
search after ideas. his personality and
artistic methods drew to his banner
small army of frenetic adherents,
who spoke his name in whispers. wor-
SHIPPED him as a Mahdi, and were ready
to follow him into his realm OF un-
realized visions with sublime faith. All
who were unable to follow were and
still are assailed with fiercest vitu-
peration, their veracity denied, their
Judgment ridculed, their motives
impugned. Mailer was not himself
dragged into the vortex of contro-
versy. He remained an artistic re-
cluse, dwelling in a chimerical king
dom, peopled by phantom thoughts,
and allowing the fatuous fights of the
Guelphs and Ghibbelines of music to
pass through the avenues beneath his
windows unnoticed.
Inspiring Structures OF Tone.
Following the method of his master,
Bruckner. he labored diligently at
rearing colossal and imposing struc-
lures OF tone, built OF long, deep
breathing phrases and expanding
themselves in gigantesque figures OF
counterpoint, In pendulous stuccoes OF
baroque Instrumentation and in pom
derous, portentous and often poin:less
lyric symbols. In his belief in his own
struggles Mailer was little less than
a fanatic, and the ultimate develop
ment OF his life was a convincing faith
in the pregnant significance and last
ing Importance OF his own Cyclopean
songs. In long days of platitudinous
complacency he had flashing instants
TN..A - ~.stl1
OF his confusion of meaningless sound
he sometimes sang clear, celestial
note. And this note fell upon the ears
of his worshlpers as the word OF one
but little lower than the angels. Upon
those who could not perceive Its
majesty and its might was launched
the curse OF Vienna.
But who by taking thought can add
n cubit to his stature? The third and
the eighth symphonies Of Mailer re-
veal more evidences Of astounding
labor than his other works. We find
in them the agonized straining of the
gaze that would pierce infinities, the
inexpressible torturing Of an insatia-
BILE spirit, the splendid but hopeless
sincerity Of an Intellectual soul. There
are no more pathetic figures In the
history of the arts than Bruckner and
Mailer, both Of whom command re-
spect and sympathy.
But their so-called disciples, who
arc al such pains to reiterate the de-
spairing cries of these expiring spirits,
arc perhaps less concerned about de-
livering posterity from devastating
ignorance than about establishing
themselves in unoccupied territory.
Their rewards thus far have been
meager. II is not easy TO induce the
populace 70 sit through symphonic
works lasting two hours. Even q
music lover In search OF rational en-
1 ioyment should not be transformed
into a beast of burden. Since he can
not be tied to his seat he is prone 70
arise and depart. Tuesday evenings
audience did Mahlcr the honor OF lis
tcning TO his entire work. How many
OF those present will desire to DO it
again2