Music Trade Review
Issue: 1904 Vol. 38 N. 1 - Page 2
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THE
MUSIC TRADE
REVIEW
TO AMERICA'S MUSICAL PROGRESS.
lerica gets where it would seem
[1 music was to develop and take
li the art in other countries, it
hinge handicap from those whose
|uld be to do everything in their
Id it up instead of tearing it
ians have come down from the
to the level of artisanship. In-
Ive voluntarily placed themselves
'category as bricklayers and car-
Jiat musicians should require a
feague of some kind may be recog-
that they should undertake to fol-
|cy which cannot possibly result in
[but the undermining of art is well
^liuprehensible.
becomes valuable by proficiency,
is gained by practice. Therefore
,'ho poses as injured because he has
[art of his time to rehearsals proves
is no conception of the requirements
e calls his art. It is no art to him.
[orkman, and possessed of this spirit
far better follow the bent of his
leave the position of musician open
(who realize the nobility of that call-
hindrance to art in America
; the freedom and the equality
men stand in this beautiful coun-
cil known that when foreigners
|nerica they break into utter un-
u\ this manifests itself in every
[their lives. Perhaps this is only
the first use of freedom by the
is to abuse it.
the case, the direct effect upon
5, because the only way
the greatest in so exact-
^nforce discipline to such an
|tire body is as one man in
rie conductor. Indeed, there
^archy so absolute in its tyranny—
monarch who must have more
Fontrol than the conductor in the
music.
the most serious hindrances to
tnerica is the spirit of insubordina-
Feh permeates the orchestra players,
glaring example of w r hich occurred
ft occasion which will be remembered
one interested in musical affairs,
ix Bendix left his chair of concert
[ecause he disagreed with Herman
conductor of the orchestra,
|0i : Mozart's E Flat Symphony.
^^^
to sue Mr. Wetzler for
:ract, but as might have been
the case. Judge Roesch, in
>ronounced an opinion which
Tmost in the mind of all or-
s. He said that no matter
luctor orders, the players must
;e the performance of an or-
^r might at any time be ruined
player or a 'cellist found
x note and balked,
the greatest living con-
consider Mr. Wetzler's
of the Mozart
but in fact the only correct one. The slight,
though decided separation of the motive in
the characteristic manner in which Mr. Wetz-
ler plays it, is absolutely necessary in order
to give adequate expression to the spirit of
the movement."
Alfred Hertz expressed the very same
opinion. While it is perfectly within the
understanding of those who know the condi-
tions to realize that Mr. Bendix held his
opinion, one might believe that he would
know enough about business matters to be
certain he could not collect any salary for a
performance in which he took no part, es-
pecially as he broke his contract himself.
Major Higginson, of Boston, stated very
definitely—and intimate friends of his say
that he meant it in all honesty—that rather
than quibble and endure annoyances at the
hands of the Union, he would give up the
Boston Symphony Orchestra. When such
men as Higginson and others at the head of
big musical enterprises are so harrassed and
annoyed as to be forced to give up what can
only be considered a luxury that can be dis-
pensed with, what will the Union do for the
men who are dependent upon the good will
of these organizations and who are thrown
out of work by their disbandment?
Perhaps it is not generally known that
America has as a resident one of the greatest
composers of the present day, a man whose
work is as thrilling and startling as it is
exotic, yet which, notwithstanding this quali-
ty, is thoroughly sane and logical. This man
Another case even more glaring than the is Charles Martin Loeffler, an Alsatian by
foregoing occurred at the Metropolitan birth, an American by adoption, a German
Opera House, when Mottl called the men into by solidity of musicianship, a Frenchman in
line for a rehearsal. One bass player stood the brilliant color and the dramatic fire
back very indifferently, and in answer to which not only burns within him, but which
Mottl's question as to why he did not fall in sheds its light into the farthest corners, re-
line, answered with an offensive manner, "I vealing to him their innermost secrets. We
have no music stand." "Well," said Mottl, have known Loeffier as composer for orches-
tra. In his selection of subjects he always
"then get one." To which the man answered proves
himself a man of extraordinary liter-
insolently, "I am here to play my instrument, ary knowledge. As a member of the Boston
not to get music stands." Hardly daring to Symphony Orchestra, it was perhaps not sur-
believe what he had heard, Mr. Mottl prising that he understood the functions of
crawled back under the stage and produced a every instrument in the entire body, and he - (
wrote with a hand that was unerring. Hk !
music stand.
power
of instrumentation seemed perhaps his !
There is nothing in this story and there is
everything in it. It proves definitely that the most remarkable talent, but here comes Loef-
fler without this enormous material with
respect due a great man is lacking, and that which to express himself. He takes a simple!
the word obedience is a yoke which is worn poem—if we may ever dare to call "simple"!
in veritable bondage. The great Rhein- the wonderful poems of Baudelaire and Ver-#
berger was once asked why he did not come laine—and he produces songs which leavty
to America. He replied, "Oh, no! Here I one aghast, so original, so entrancing, {3^
am respected, and everybody honors me; if I soul-stirring they are. To say that even $
went to America some one would strike me audience assembled for the Kneisel coace)
on the shoulder and say, 'Hello, old man! which we may regard as the cream of musi
in New York, understood t
How are you?' Such an atmosphere must audiences
music would not be true. People looked
kill art."
vain into one another's faces, and then tl
And this is true. No one is beyond the peered into faces of the critics to see hov
leers and jeers of anybody, beginning with struck them. But all in vain. The immen
the press and ending with the street gamin; of the man and his work was too muc
and so long as freedom is abused in these they did not understand. Those who
ways, we cannot expect to see the art arrive understand rejoiced. That Loeffler is 2
to do this work in America is a magnifk
at its noblest height.
example to hold before those who claim t
the atmosphere is not conducive to the gr<
The achievement of such a monumental est in art. Those who feel that Loeffl
work as the production of "Parsifal" in songs are to them unintelligible need
America is nothing short of stupendous, and despair, for they will grow into this musi<
one cannot question that the executive ability they have grown into the comprehensioi
and the determination of Mr. Conried are Strauss and Brahms, with whom Mr. Loe
almost beyond comprehension. With every- is certainly worthy of being named.
thing in his favor and no obstacle of any im-
portance, this was still a work of colossal
One of the most triumphant successes t
proportions, but fighting the odds against scored by an American was achieved
him from every side to have carried this pro- Henry Holden Huss, whose piano concern
was played in five different cities by Adel
duction through so triumphantly is signifi- Aus Der Ohe, on tour with the Boston Syitf
cant of nothing short of genius,
phony Orchestra. The last performance o/I
Whether from the side of the orchestra or curred in Brooklyn, at which time both pi ]
the stage settings, the Union co-operated and ist and orchestra were in superb form, ft .'
Gericke presented the work as though \w
contrived to balk him in every move, and thoroughly
appreciated every line of writing
what they did not do to interfere with the and Miss Aus Der Ohe played with consum
production of this great work was neglected mate art. It is safe to believe that no Ameri
because they did not think to do it. How can work has ever had a more artistic preset
long people will find it worth while to strug- tation—in fact, it could hardly be possibM
Miss Aus Der Ohe's piano playing is 0
gle against such difficulties is the question; as
a degree rarely achieved by man or womarj
and ^^JtkU£L5 are growing rapidly worse, it
Boston Svir^Bhl Orchestra
witj
matter of time wher
ie said 5
iterpris^s will be aba
THE
MUSIC TRADE
REVIEW
TO AMERICA'S MUSICAL PROGRESS.
lerica gets where it would seem
[1 music was to develop and take
li the art in other countries, it
hinge handicap from those whose
|uld be to do everything in their
Id it up instead of tearing it
ians have come down from the
to the level of artisanship. In-
Ive voluntarily placed themselves
'category as bricklayers and car-
Jiat musicians should require a
feague of some kind may be recog-
that they should undertake to fol-
|cy which cannot possibly result in
[but the undermining of art is well
^liuprehensible.
becomes valuable by proficiency,
is gained by practice. Therefore
,'ho poses as injured because he has
[art of his time to rehearsals proves
is no conception of the requirements
e calls his art. It is no art to him.
[orkman, and possessed of this spirit
far better follow the bent of his
leave the position of musician open
(who realize the nobility of that call-
hindrance to art in America
; the freedom and the equality
men stand in this beautiful coun-
cil known that when foreigners
|nerica they break into utter un-
u\ this manifests itself in every
[their lives. Perhaps this is only
the first use of freedom by the
is to abuse it.
the case, the direct effect upon
5, because the only way
the greatest in so exact-
^nforce discipline to such an
|tire body is as one man in
rie conductor. Indeed, there
^archy so absolute in its tyranny—
monarch who must have more
Fontrol than the conductor in the
music.
the most serious hindrances to
tnerica is the spirit of insubordina-
Feh permeates the orchestra players,
glaring example of w r hich occurred
ft occasion which will be remembered
one interested in musical affairs,
ix Bendix left his chair of concert
[ecause he disagreed with Herman
conductor of the orchestra,
|0i : Mozart's E Flat Symphony.
^^^
to sue Mr. Wetzler for
:ract, but as might have been
the case. Judge Roesch, in
>ronounced an opinion which
Tmost in the mind of all or-
s. He said that no matter
luctor orders, the players must
;e the performance of an or-
^r might at any time be ruined
player or a 'cellist found
x note and balked,
the greatest living con-
consider Mr. Wetzler's
of the Mozart
but in fact the only correct one. The slight,
though decided separation of the motive in
the characteristic manner in which Mr. Wetz-
ler plays it, is absolutely necessary in order
to give adequate expression to the spirit of
the movement."
Alfred Hertz expressed the very same
opinion. While it is perfectly within the
understanding of those who know the condi-
tions to realize that Mr. Bendix held his
opinion, one might believe that he would
know enough about business matters to be
certain he could not collect any salary for a
performance in which he took no part, es-
pecially as he broke his contract himself.
Major Higginson, of Boston, stated very
definitely—and intimate friends of his say
that he meant it in all honesty—that rather
than quibble and endure annoyances at the
hands of the Union, he would give up the
Boston Symphony Orchestra. When such
men as Higginson and others at the head of
big musical enterprises are so harrassed and
annoyed as to be forced to give up what can
only be considered a luxury that can be dis-
pensed with, what will the Union do for the
men who are dependent upon the good will
of these organizations and who are thrown
out of work by their disbandment?
Perhaps it is not generally known that
America has as a resident one of the greatest
composers of the present day, a man whose
work is as thrilling and startling as it is
exotic, yet which, notwithstanding this quali-
ty, is thoroughly sane and logical. This man
Another case even more glaring than the is Charles Martin Loeffler, an Alsatian by
foregoing occurred at the Metropolitan birth, an American by adoption, a German
Opera House, when Mottl called the men into by solidity of musicianship, a Frenchman in
line for a rehearsal. One bass player stood the brilliant color and the dramatic fire
back very indifferently, and in answer to which not only burns within him, but which
Mottl's question as to why he did not fall in sheds its light into the farthest corners, re-
line, answered with an offensive manner, "I vealing to him their innermost secrets. We
have no music stand." "Well," said Mottl, have known Loeffier as composer for orches-
tra. In his selection of subjects he always
"then get one." To which the man answered proves
himself a man of extraordinary liter-
insolently, "I am here to play my instrument, ary knowledge. As a member of the Boston
not to get music stands." Hardly daring to Symphony Orchestra, it was perhaps not sur-
believe what he had heard, Mr. Mottl prising that he understood the functions of
crawled back under the stage and produced a every instrument in the entire body, and he - (
wrote with a hand that was unerring. Hk !
music stand.
power
of instrumentation seemed perhaps his !
There is nothing in this story and there is
everything in it. It proves definitely that the most remarkable talent, but here comes Loef-
fler without this enormous material with
respect due a great man is lacking, and that which to express himself. He takes a simple!
the word obedience is a yoke which is worn poem—if we may ever dare to call "simple"!
in veritable bondage. The great Rhein- the wonderful poems of Baudelaire and Ver-#
berger was once asked why he did not come laine—and he produces songs which leavty
to America. He replied, "Oh, no! Here I one aghast, so original, so entrancing, {3^
am respected, and everybody honors me; if I soul-stirring they are. To say that even $
went to America some one would strike me audience assembled for the Kneisel coace)
on the shoulder and say, 'Hello, old man! which we may regard as the cream of musi
in New York, understood t
How are you?' Such an atmosphere must audiences
music would not be true. People looked
kill art."
vain into one another's faces, and then tl
And this is true. No one is beyond the peered into faces of the critics to see hov
leers and jeers of anybody, beginning with struck them. But all in vain. The immen
the press and ending with the street gamin; of the man and his work was too muc
and so long as freedom is abused in these they did not understand. Those who
ways, we cannot expect to see the art arrive understand rejoiced. That Loeffler is 2
to do this work in America is a magnifk
at its noblest height.
example to hold before those who claim t
the atmosphere is not conducive to the gr<
The achievement of such a monumental est in art. Those who feel that Loeffl
work as the production of "Parsifal" in songs are to them unintelligible need
America is nothing short of stupendous, and despair, for they will grow into this musi<
one cannot question that the executive ability they have grown into the comprehensioi
and the determination of Mr. Conried are Strauss and Brahms, with whom Mr. Loe
almost beyond comprehension. With every- is certainly worthy of being named.
thing in his favor and no obstacle of any im-
portance, this was still a work of colossal
One of the most triumphant successes t
proportions, but fighting the odds against scored by an American was achieved
him from every side to have carried this pro- Henry Holden Huss, whose piano concern
was played in five different cities by Adel
duction through so triumphantly is signifi- Aus Der Ohe, on tour with the Boston Syitf
cant of nothing short of genius,
phony Orchestra. The last performance o/I
Whether from the side of the orchestra or curred in Brooklyn, at which time both pi ]
the stage settings, the Union co-operated and ist and orchestra were in superb form, ft .'
Gericke presented the work as though \w
contrived to balk him in every move, and thoroughly
appreciated every line of writing
what they did not do to interfere with the and Miss Aus Der Ohe played with consum
production of this great work was neglected mate art. It is safe to believe that no Ameri
because they did not think to do it. How can work has ever had a more artistic preset
long people will find it worth while to strug- tation—in fact, it could hardly be possibM
Miss Aus Der Ohe's piano playing is 0
gle against such difficulties is the question; as
a degree rarely achieved by man or womarj
and ^^JtkU£L5 are growing rapidly worse, it
Boston Svir^Bhl Orchestra
witj
matter of time wher
ie said 5
iterpris^s will be aba
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