San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1923-08-05
BY PIERRE v. X. KEY.

Paris, France, Aug. 5.-Some
French composer may one day write
a symphony with the leading themes
played TO represent the ubiquitous
taxi horns of the Paris streets.
They are such strange horns; most
of them pipingly high in pitch, with
an occasional baritone sound mingling
with the others. You can hear them
increasingly, at any hour of the
day or night-in the Boulevard dies
Capucines, Place de L'Opera, or
Rue Scribe. Now and again they
join in a sort of chorus to the sun
or moon. 1t is all quite novel-to
anyone but the Paris resident or
seasoned visitor. Once acquainted
with the taxi drivers of Paris one
learns the reason for all the noise of
horns. For they are n reckless lot.
Nowhere in the United States are
automobiles operated with such dis
regard for the safety of all immedi-
ately concerned. Yet there are few
accidents; at the last moment some
thing always intervenes TO save the
vehicles apparently certain to smash
each other.
NtSthC WtthS nave DTOuSuI 10 IL
close the 1922 1923 music season of
Paris. In the concert field there
has been widespread activity. Both
L'Opera and the Opera Comique have
gone their usual ways, much after
the fashion commented on in our last
article. In the sphere of higher
music the quantity has soared-high-
er, in fact, than the quality.
There is, however, no such patron
age of concerts as prevails in New
York, or even in Boston. Chicago or
Philadelphia. Sale Gaveau (the
principal auditorium) has a seating
capacity of about 1900, which is
smaller than most Of the leading halls
of United States cities. Occasional
ly when distinguished musicians ap-
pear as happened not long ago when
Paderewski played a recital, and Al
fred Cortot, Pablo Casals and Jacques
Thibaud presented joint program)
such a theater as the Champs Ely
sees is used. But this is an excep-
ton.
Your Paris music public is smaller
than that in any one of the United
States four leading cities. Private
soirees, on the other hand. are nu-
merous and popular. Still, all things
considered, it is not profitable to at
tempt a recital in Paris-unless the
artist be very well known and high
ly regarded.
Elman Pays Program.
One of the first musicians belong
ing to this class whom we heard in
Paris was Mischa Elman. We met
Mischa in the corridor of the Grand
Hotel, looking as spry as ever anS
thoroughly happy. He was elatcd
over having just acquired new
Stradivarius fiddle-the best, he de-
clared. he had ever heard. Two even
ings later We sat in Sale Gavear
and heard this admirable violinist
He did not use, though, his new in
strument.
It was an interesting program
which Elman offered; and it was
heard by an audience which nearly
filled the available seats. Never, i,
our judgment. has the slow movement
OF the Symphonic Espagnole been
more beautifully played. Albert
Spaiding, sat in n box, and he was
joined there, when the recital wa,
well started, by Thibaud.
Elman is well thought Of by Pari-
slams. They adore their Thibaud
yet there is justice in their recep.
ton of any visiting musician who
belongs to the elect. So Elman go,
his share of applause.
| A French music devotee, enlarg.
ing upon the virtues of the Paris
music public, insists that its dis
elimination is of the highest. He
explained that the custom of approy.
ing and disappearing is helpful
wherein he is right, and that nc
mediocre performer can escape with
out being made aware of his .ightfuI
artistic place. This may be true: but
we did not discover any OUTSTANDING
evidence of French superiority tC
that of n critical United States au
dience in pronouncing Judgment OF
the capacities of a solo musician.
| What was apparent is the attitud,
manifested when an instrumentalis,
or singer falls materially short of al
anticipated standard. In any sucl
circumstance there are misses. enf
there IS no mistaking the disapproyal
But the favor bestowed upon the eu
deavors of participants at n perform
ance at either of the national operf
houses prompts one to ask if Paris.
taste IN opera is of the best.
A discussion of this point with one
OF the foremost concert musicians oi
me world Zone who has appeared be
lore audiences in hundreds of cite.
IN all parts of the world) brought
from him the assertion that tn,
American music public in many re
spects is the most satisfactory on,
TO play before. Whether this be cor