New-York tribune., 1922-03-12

to exhibit past and present means of
the propagation of the Mailer cult,
which ought to be left to take care
Of itself, | translate 4 portion of it
here and append few necessary com
mcnts:
Gle Mahlerl was soon to learn that
the glory Of European theater di-
rector had come to an end. In the
theater he was looked upon simply as
conductor, not at all as that superior
artist to be respected by all. He was
taught at the first orchestral rehearsals
that many of his desires would have
to be suppressed. That the perform
ances were brilliant in spite of short
rehearsals Will be easily understood
as a matter of course by all who were
familiar with his character. Whether
the Americans were conscious of the
fact is another question.
when Mailer died Mr.. Krchbicl
published an obituary in Tho
Tribune, in which it was fatty and
curtly said that 'his American career
was not q success The essay as a
whole was written in spirit devoid
of kindly feeling but with quite expert
knowledge. Ossp Gabrilowitsch, one
of the best pupils Of Leschetizky, in
whose studio often met him Gnci-
dentally also a son-in-law Of Mark
Twain's), one of the most Jealous of
Mahlers admirers, embraced the oppor-
tunity to publish the most violent re-
proaches (dio he}tigstcm Vorscurfo)
against hrehbiel in another Anne rican
newspaper, accusing him Of rude irrev-
croncc in particulars because Tie fault
ing discussion Of Mahlcr's American
activities were uttered prasonti cddo-
rcrc. As admirable as it may be when
friends IN their partisan enthusiasm,
as Gotche called it, break a lance in
favor of those whom they love. still
think it injurious to correct historical
investigation to veil the truth. Even
Mailer while still living did not claim
that his visit to America had been
crowned with the artistic success which
might have been expected. How much
more must the memory of such mon
umental personality, which has grown
after his death, suffer from the estab
iishment Of facts, which may pc .haps
have an unpleasant sound in the ears
OF friend, but are, nevertheless, in
dubltable facts. We need no more
trustworthy witness to the correctness
of krehbiel's Judgment than Mailer
himself, who had the conviction that he
was III mistaken posture and at the
last made no secret Of his conviction
ohat Tor nm America signified only a
livelihood, and that he was indisposed
to extend his American visits longer
than necessity demanded. Summing m
ali that | have heard from different
sources concerning Mahler's activities
IN America, one may concede that
Krehbiel was right. Mahler's Iabors
IN America were not successful. For
TINS there were many deep-lying causes.
In the first place, Mailer had de-
clined to be exhibited in the various
salons. He lived solitarily and mod
estly in the circle of few friends and
held himself aloof from the intrusive.
but useful, noise in the palaces Of
American dollar-kings. Such conduct
is intolerable to custom on the other
side of the Atlantic, where an artist
must be visible at all times and to
everybody.
But the thing against which NAH
ler's stubborn will was bound to suf-
fer shipwreck was the organization of
the New York opera. A season of
few months duration, performances in
all languages, few rehearsals. More
over it must not be forgotten that the
French, and particularly the Italian.
opera was always given prefer
ence. For this reason Toscanini, the
famous Italian conductor, was dan
gerous rival, all the more dangerous
because Toscanini was not only famous
but really glorious conductor.
Relations With the Philharmonic
Society
"Besides his labors at the opera.
Mahler was also active as concert con-
ductor. At first he took his place at
the head of the Symphony Society's
orchestra and with it gave three con-
certs in his first season. Later he as