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New-York tribune. (New York [N.Y.]) 1866-1924, May 24, 1903, Image 24

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REFLECTIONS ON THE RICH FESTIVAL
TEXT TKADITIOX AXD MOVERS TASTE IS THE FEE
FOEMANCK OF THIS MASTER'S WORKS.
Foi three years past I have flrwuned a beautiful
dreaia whenever the thought of Bethlehem and Us
Bach festivals presented itself to my mind. It was
a flream of the establishment of a centre of Bach
.Tiltnre In Bethlehem, of the fm# old Moravian
n»«eung house as the home of performances which
should eet a Hss«Ttl for OOSjOBTI room and church,
io which ■linns should r;>;'ir to learn the correct
wanner cf singing the sM music, and musicians
m hear authoritative readings. If Bach Is to be
come a rtaliy living word for the people of to-day
*uoh a ••Stylblldungschule" a« Wagner wished to
■*» established for his art is a -necessity. The
.iJucation received V> the majority of the singers
*nd Instrumentalists of to-day t,ikes no heed of
many things which are essential to the mere utter-
Hnce of the text of Bach's music Not one pianist
Jn a hundred can read the engraved pages of even
li* simplest works as they came from his hands;
not one singer in a thousand knows either how to
reproduce his arias as they sounded ISO years ago.
«ir how to make them acceptable to the changed
-a?te of to-day. Few conductors, organists or com
posers are equal to the t»ek of PMrfstej his scores
io make them practicable for performance or of
a:iic« up the lacunae with wMch they abound. Mr.
Thomas made a notable attempt to give a model per
formance, irom th* modern, not the archaic, point
of view, oi the B minor mass at the Music Festival
•a Cincinnati la*t year, going so far as to have
«very embellishment written into the parts exactly
as he wished it. to sound, and holding every per
fenner strictly to his Interpretation. But a music
festival of the dimensions of the Cincinnati aftalr, :
and with its conditions and environment, cannot
•become a school for musical style and interpreta
iWTi. Such a echool must b«» founded on intimacy,
devotion and love sliared alike by performer and ;
listener.
The Bethlehem festival idea in its original con- j
«<*ption was beautiful and uplifting. No one would
tas| dared to entertain it who -was not familiar
■with the au!^>iciousr.»ss of the conditions out of
■which It sprung. If there ever was a place ideally
adapted to become the home of a specinc Bach
«sult. that place was Bethlehem. Mr. Wolle would
never have been the man that he is.— rapt
;fiealist Hilefi with tremendous practical energy,—
had he not grown up in aa atmosphere and en
vironment which nourished his idealism and ln
rpired els energy. The idyllic SOSMS with which
v,e was surrounded taught him to dream of beau-
Mful thing*, the eager, pulsing. HkdostrlsJ Itfe which
™t hit ga»e when he looked up from his artistic
brooainr* taught him how to act. Every day he
talked through the groves Sf his native town In
lhe picturesque l>high Valley as through a hoy
•cnple, and his daily duties kept him perpetually
reminded of the old cantor of St. Thomas"*. Every
day the minds of creator and .interpreter met in
communion. The resonant weJls of the flno old
church which echoed to his organ and Choir every
; Sunday must have eeemed to him to plead for an
opportunity to give back worthily the lofty strain,
which could not be fitted into the customary
.•:i*urgicaJ service. Thus echoed he knew that the
-rchaic music would apiin become vital, winning,
rompelline. and put understanding and love In tne
rlace of curiosity and perplwced admiration.
To -, statical SMrti at large the festivals have
appeared to be a miraculously spontaneous and
•recent growth; in fact, they are the outcome of
many years of patient labor. I first heard of
Bethlehem and its Bach cult fifteen years ago.
when Mr. Wolle was planning a performance or
the -pasfion According to St. John." which took
place on June 5. ISSS. Four years later lbs "Pas
«lon According to St. Matthew- was brought for
ward, and two years after this the "Christmas
Oratorio." The singers In these performances
were the choristers of the Moravian Church
chiefly. in 189S the Bach Choir was organized,
and the mass In E minor was brought forward in
-3X» The performance took place under clrcum
-ta^ccs similar to the recent meeting, and was
Called a festival, but it belonged almost exdusive
•TtTßctnlebem; its *tory was Bcantily told even
in The Tribune. The second festival dr^ alarger
patronage and the harmonious song of its trt
umphs was sent ringing round the world. The
third furnished proof of the persuasive force of
that song. The festival was tardily and insuffi
ciently announced, yet ar. average of one thou
«a*d i-exsons must have heard the last five con
certs. Among them were many musicians who
rfafle the pilgrimage to the Bachian Mecca in the
confident aope that a rare experience awaited
them In this, at least, they were not disappointed.
Kever before had they b*en so near .Bach s
mas i c r.ever communed so Intimately with Its
eplrit. The church wr-l.s seemed to throb with its
strain- anfl their hearts throbbed synchronously
with them. Everything was fun of spontaneity
B nd esthu^asm. •Si even the crudities of the per
formance lent color to the fancy that something
lUtae this, though less sonorous, were the cervices
to the churches of St. Thomas and St. N.cho.as
<n Leipslc a century e:id a half ago. Full of ad
miration for the spirit which could create so
unique an artistic refreshment, the musicians who
hkd Journeyed in love and had haci that love
trer.pther.cd gathered In knots to discuss the
■works ansJ the details of their performance. With
ono HSVJ they lauded the remarkable achieve
awrat of the choir ai.d its conductor and accepted
V the | is»inTlrr which they had made of the
F practicability of what had been merely The
Tribune's writer's dreara-the sstttn* apart of
Btthltheni as the fulillflsWisi of a cuit. gentle,
rare, elevated and pure, protected from common
i>la.-e, ihnrss cant and pretence by the festi
val's gracious surroundings. One thing only was
Jacking to make the meeting absolutely Ideal,
find that was such a measure of excellence in the
rmanc ■ as to set a standard for future read-
Ings of Bach's works. Thus they spoke, and for
this were foolishly rebuked; yet they refused to
yield up a tittle of the.r gratitude and enthusiasm.
A-.d now to a consideration of some of the things
•which interfered with perfect enjoyment of the
festival, and which were Mosrt«i to in the tele
graphic repoit. sent to this Journal. The merely
technical defects no longer concern us; in a way
they were sBSM than oflset fcr the merits of the
performances, and at any rate they were inconse
quential compared with the matters which rlarred
the B»Brss«tsclSssai cf the muslo us such. The
visitors were certainly entitled to expect better
orchestral work in view cf tho fact that tho price
of tickets was unusually larg-e, and the Impression
had gone sal that the band was to be that cf
Philadelphia. In point of fact it was largely made
mj> of amateurs like that of two years ago. Som«
of the readings which were set down as faulty
in The Tribune seemed tc be due to an exaggera
tion of the literalncss of the text cr hints de
rived from commentators.
The phenomenon is a common one in the work of
tbe conductors of to-day. Wagner's euggestions as
vo tempi in Beethoven's Eighth eymphor.y and a
tew dynamic nuances In the overture to "Der
2Treischtitz" have been epplied in many quarters
"wilts such excess of seal as to brir.g those works in
tbe hearing to tb« verge of caricature. It was
something similar to this on the Dart of Mr. Wolle
•which robbed his performance of the appcgglatura
of all grace and fluency in many of the numbers.
As •. rule. Bach' 6 appoggiaturi are short, but this
does not m«ar. that in a moderate movement they
Are to be taken like the snap of a whip. in the
Ehortest appreciable time. Their purpose is to em
fcellisa the music and their duration must be made
contingent on tempo, character and rhythm if that
X>urpose Is to be subserved. Since the accent falls
upon them, it is essential that the distinction be
tween the long and the short appoggiatura be pre
served lest the rhythm Buffer alteration, for a long
appoggiatura must hare at least half the value of
Tiye note which it precedes, and may take two
thlrds—according aa tbe note Is divisible by two or
'^DaQu^T *s fcsVi\>a\
SVa&WoTuitn. Sla\\s ©tyV$ — SiwlsYblß 6to\\,cs\tb..
From August 8 to September 14, 1903.
2* PERFORMANCES OF
DER RIN(j DES NIBELLNQEN.
Tannhauser, Tristan und Isolde, Lohengrin, and
fleistersinger yon Nurenberg.
For full particulars and Tickets apply to
fSCHEXKER & CO., Tourist Agents, IG, Promenadeplatz, 3lunich,
or to >I a naffer, Continental Hotel, Munich.
three. Bach had three ways of indicating an ap
pogstatura—b>- a little elur before the note (either
from above or below, according to the lntervallic
progression), by a double slur (two lines curving
toward each otherV and by the tiny note which it
is customary to use to-day. It is possible that the
uifference in symbols indicated a difference In man
ner of execution: Just such a difference as taste
would prompt between the treatment of the em
bellishment in a merry, tripping measure and In an
agonised plaint like the duet "Behold, my Saviour
now is taken." for instance. Here, and in other
melodies of like character. Mr. Wolle's Jerky per
formance was painful to a sensitive listener. I*n
fortunately. on this point the scores published by
the pachgesellschaft throw no light. The ob
viously correct maner is that which comports best
with the character of the melody, as may be seen
in the many cases of both short and long appo
giaturas written out ana fitted Into the melody.
Tatte is needed; taste, a sense of the beautiful and
knowledge of tradition— all these must be corre
lated with the text and participate In the Interpre
tation.
" Many who hare made Bach a fetish have per
suaded themselves that in contradistinction to all
the musicians before and after him he was a
tyrant who left nothing to the taste and Judgment
of his performers, but demanded a strict adherence
to the letter of bis compositions. Buch a concep
tion flies In the face of obvious fact. Like all the
musicians of his period, he utilized anything that
was momentarily at hand to make his music effec
tive. With him circumstances altered cases, and I
can as little imagine him curbing the liberty of a
good singer in the employment of the embellish
ments which were customary in his day as com
mending an imbecile for strenuous but stupid ad
herence to the written note. His works were
written for performance under his eye, and he wis
able to care for correct and tasteful Interpretation
as he went on. Frequently his scores do not agree
with the voice parts, though they were both
written out by himself. In the particular Instance
which provoked this discussion only a few of the
many appogiaturas In the flute and oboe parts are
to be found In the score of the St. Matthew Pas
6ion; but they are all in the parts. If a conductor
FIGURE DESIGNED FOR THE WA6NBB MOM
UMEXT BY THE GERMAN EMPEROR.
were to accept the score of the Passion as final
authority the chorale melody sung as a cantus
flrtnus la the first number would have to be played
on the organ. It is plain that when Bach com
posed that stupendous piece he did not
dream, of having a sufficiently numerous force
of singers to divide it into three parts.
When he got the einser? on some occasion
of special magnitude, presumably, he utilized them
and secured the thrilling effect that we know. He
was more particular than many others in writing
out the appogiaturas in his recitatives, particularly
in those of an arioso character, either to insure
certain dransatlo effects or because he was not
able to command finished sing-era. In doing 60 he
fell under the condemnation, impliedly, of Tosi, an
eminent authority, who in his book, "Opinlonl de
Cantori Antichi c modern! o sieno osservazloni
sopra 11 Canto figurato," which was published in
1723 and translated into German by Agricola,
Handel's friend, who was a pupil of Bach for
three years, saw only a decay of the art in the
fact that some composers of his time wrote out
the ordinary embellishments which the "old"
elngers (of thirty or forty years before) applied of
their own volition. But It is not necessary to as
sume that Bach forbade everything which he did
not epecifically allow. Spitta, who is strongly in
clined to be a strict constructionist on this point,
reaches a conclusion which dtserves to be quoted:
It seems safe to conclude that since Bach in
general preferred to write out all the ornaments he
wished used, and, as has been shown, wrote them
out so very often in the recitatives, he must mean
that they were not to be Introduced in all the other
peaces where they might, perhaps, be detmed suu
able. I fear, however, that this summary method
of "proceeding would hardly fulfil his Intention.
Agricoia, on whose works we have just been found
ing our opinion as to Bach's custom of writing
out these embellisbmenta, adds, after he has men
tioned this as his custom, that we mupt at the
same time be careful to distinguish between the
places where supplementary notes are essential and
those where they are only accidental and non-es
sential, and that a pas^a^e which is beautiful may
have the possibility of becoming by many degrees
more beautiful. When Bach wrote out an orna
ment in any passage h<; regarded it as essential
tf> that passage. We can see this from the fact
that very often he supported the ornament by the
harmony of the accompaniment, while the general
custom was to leave the accents, which muat al
ways be dissonances, quite free.
Mr. Wolle seemed to be Indifferent, at «ea or to
feei helpless In this respect so far as his solo
fingers were concerned. He left them to their own
devices, but applied an adamantine rule to his
players. The result was a lack of uniformity and
consistency. The ungraceful snap of his instrumen
tal appogiaturas which went against the grain
of his singers, was by them modified, but only
timidly and half-heartedly. Consequently they never
agreed either with the orchestra or each other
except In the case of Mrs. Zimmerman and Mr.
Van Yorx in the treatment of the short trill in
the "Domlne Deus" of the mass— a circumstance
that was explained by the fact that Mrs. Zimmer
man E&ng at the performance of the work in Cin
cinnati a year ago, on which occasion Mr. Thomas
supjiijed parts to all the singers with every em
bellishment written out precisely as he wished to
have it executed.
Something ought to be 6atd about the playing of
the figured bass on the organ. The matter of how
the lacunae in the concerted pieces and arias were
filled I pass over; It involves the questions of the
competency of the organist and the quality of the
Instrument. The treatment of the continuo in the
dry recitatives of the "St. Matthew Passion." how-
SSSr. is another matter. No doubt Bach used the
organ oftener than the harpsichord in his com
positions for the church; but he also used the
harpsichord. It is written that he had the eem
bsUo which stood in the choir loft of the Church of #
St. Nicholas specially put in order for a perform
ance of the customary Passion service on Good Fri
day, 172-4. This was live years before the "Passion
According to St. Matthew" was composed; but the
cembalo remained In the church and was used up
to Bach's death. The autograph of the "St Matthew
Passion" shows the figured bass in sustained notes.
In the library of the i>.;lln Singakademie are pre
served a complete set of parts, and among them
two figured basses for organ (<"ontlnul pro Organo)
and one for harpsichord (Continuo pro Clavicem
balo), all in the handwriting of Bach.
A voice part which is preserved in Bach's hand
writing indicates that he permitted the organist
to play short chords on the organ to support the
recitatives. Kittel. one of the last of Bach's pupils,
taught Fischer, of Erfurt, who was heard by (irell.
NEW-YORK DAILY TRIBUNE, SUNDAY, MAY 21 1903.
who told Spitta. something bearing directly on ihls
point It was that in these accompaniments Fisch
er followed the harmonic course of the movement
with short chords In the risht hand while he played
the bass legato, and with considerable power. Bach
himself frequently arpeggioed the chord above the
bass What now is the teSBOO of the written page
and tradition? Plainly that the means at hand
must be adapted to the end. It Is also written
that the stop generally used by Bach in playing
the conUnuo wa* the iJcdackt, whose pipes were
covered at the top and had Mute-tone. A short
chord, especially if played arpeggio, would not be
disturbing at least, though excessive staccato play-
Ing on the organ is offensive to the taste of to-day.
When Mr. Thomas first performed the "St. Mat
thew Passion' at a Cincinnati festival in 1883, he
used a pianoforte in the recitative Becco; when ho
repeated it in 1886 he wrote out the harmonies for
four violoncellos and u«ed them. When Mr. Wolle
gave It'two years ago be played chords on a piano
forte; last Thursday week an organ tone, alternate
ly thick and muddy or loud and snarling, was
heard, riainly there is freedom of choice here in
respect of both method and media, but method and
media should be consistent and harmonious. On
Fridaj the figured bass harmonies were played on
the organ and sustained; and the effect was ad
mirable.
As for the rest. I find in a letter written in 1869
by Morltz Hauptmann, one of Bach's successors
as cantor of the Thomas School in L.eipsic and
president of the Bachgosellschaft. a discussion of
go many points which came up in the criticisms
on the Bethlehem festival that 1 content myself
with translating a portion of it and letting the
argument go at that. Hauptmann is answering a
correspondent who had asked for advice touching
the performance of a Bach work, evidently the
"Christmas Oratorio." Ho writes:
The fourth question relates to the ritardandos at
the elosts. There is little likelihood that one
should ever feei tempted to retard at a close or «ee
thovens. Here ttiere is sufficient preparation to
prevent the arrival of the unexpected. In the case
of old music it is the rule to slow up a little be
fore the last chord, but only at the hnai close, tne
end of tne piece. Retardations at other cl«.ses
occurring in the progress of the piece are intoler
able to me; if there is to be a continuation there
is no reason for interrupting the movement fcven
at the end, however, there can be no talk or a re
tardation of several measures. The end of the
measure before the last will suffice to prepare for
the close Preparation greater than this gives me
the impression of putting the brakes on a rallway
train; at any rate a very unmusical one. In the
case of choruses followed by a postlude there must
be no retard, and tho postlude must be retarded
shortly before the. close, and only so much as a
proper feejing of conclusion prompts. At the close
of arias it may occur that something presents u
solT in the nature of a hold without being desig
nated by the usual Hgn (corona); In such cases
it seem* to be best to bring the postlude to an end
without the slowing up. In no caae should there
be two ritardandos.
That there can be but little effect of a slow
dvine away, morendo and calando. in such mod
erate rltardanOos, follows as a matter of course;
the effect, indeed, is contrary to the nature of t)i«
case In general also the effects of crescendo and
rliminuendo are also to be used with great modera
tion In a lively piece of polyphonic music, where
a number of voices have different things to sing
at the same time, it would be an unnatural de
mand to nsk them to agree to a common inerea.se
or decrease of tone. Eiicn voice naturally desires
to be directed in its declamation by the progress
of its melody, and this will produce just the effect
DR. OSKAR FLEISCHER.
PrmiMmit of the International Musical Association,
which is native to the polyphonic style, by the
alternate prominence of the voices in the tonal
mass. That native effect is not the rising and
sinking of an inarticulate body, but of an organism
vital in all its member?. Bach' 3 wealth of voice
combination Is not necessary for a crescendo; that
can bo had cheaper. The (eottan harp can produce
It best; but the atoiten harp cannot play a fupue.
Crescendo and diminuendo give life to a sustained
chord; carried to excess In polyphonic music they
can give a death blow by destroying the vocal or*
ganization. Crescendo and diminuendo are good
and beautiful, but only whrre they belong.
11. K. K.
MUSICAL XOTES.
Troubles of Wagner Monument
Com m it tee — Th c. Ph Had el
])hi(i Orchestra.
The managers of the festivities planning for tiie
unveiling of the monument to Richard Wagner In
Berlin on October 1 of this year are getting into
difficulties with some of the foremost representa
tives of Wagner in Germany. Thus far the trouble,
as far as is known, is only with the organization
of committees, but a line has been drawn by an un
called-for remark addressed by the tirs^ president
"t the monument committee, J.,. L,eichner, which
Is likeiy to estrange a largo number of the artists
whose collaboration has been counted on to give
eclat to the affair. Tin- monument committee
seems to have arrogated to itself the privilege of
printing the names of eminent persons as asso
ciated in official capacities' with the enterprise
without respecting the formality of getting their
consent. It has announced that there are to be
two honorary committees, <.i,.- of international
patrons and one for the musical celebration. The
presiding council of the former hi made up ot
aristocratic personages, whose function, like that
of the entire committee, seems to be chiefly, if not
wholly, decorative. They are Iter Royal High
ness Charlotte, Princess of Saxe-Meiningen, Prin
cess Royal of Prussia; His Highm -.- (we follow the
offlcliil proclamation) Bernard, Hereditary Prince
of Baxe-Metnlngen; i r ■ r Grace Prh ss of Hatz
feld. Duchess of Trachenberg; His Qraca Christian
Kraft, Prince Of Hohenlohe-Oehringen, Duke of
UJest; Her Excellency Mary, Countess yon BtllOW,
Priricipessa. di Camporeale; His Excellency Dr.
Count Bernard yon BfUow, Chancellor of the Km
pire and Royal Secretary of State; His Excellency
Dr yon Boeticher, J,orii President and Royal Bec
ivtary of State: Major General Count Cuno Moltke.
When the ii;vitnti"iis to become members «if the
International committee of honorary patrons were
sent broadcast it was announced that the honorary
committee for tbe> musical celebration was com
posed as follows: Count Bolko yon Hochberg, late
Lord Chamberlain of the Royal Theatres; I teorg yon
Hiilsen, Intendant of the Royal Court Theatre.
Wiesbadtn, and pro tern. I^.r-I Chamberlain of the
Royal Theatres, Berlin; Felix liottl. General Di
rector of the Grand Ducal Court Music, Karlsruhe;
Arthur Xikis h. Director of the Gewandhaus Con
certs, Lelpsic, and the Philharmonic Concerts,
Berlin; Baron yon Perfall, Lord Chamberlain of
the Royal Court Music. Munich; Ernst yon Pos
sart, Ix>rd Chamberlain of the Court Theatres.
Munich; Baron Gans, Noble L»rd of Pulitx, Lord
Chamberlain of the Royal Theatre, Stuttgart,
Ernest yon Schuch, Privy Court Councillor, Gen
eral Director of the Royal Court Orchestra, Dres
den; Count Seebach, Lord Chamberlain of the
Royal Saxon Court Mu.«ic and the Court Theatres,
Dresden; Fritz Steinbarh. Gtneral Musical Director
of the Gtirzenich, Cologne; Richard Strauss, Di
rector of the Koyal Court Orchestra, Berlin; Ernest
Zumpe, General Musical Director of the Royal
Court Orchestra, Munich. Accompanying the In
vitation and official announcement was an outline
of the programme, "as far as the same has been
definitely determined," which included an interna
tional musical congress, as a sort of adjunct to the
festivities, and on Sunday, October 4, at 7 p. m..
"rendering of , the 'Parsifal' music at the new
Royal Opera Housf, Berlin." Subsequently, It
would seem, a letter was sent to Dr. Hans Rlchter
to take an active part in the celebration. Ha sent
the following reply to the committee and simul
taneously a copy to the "Berliner Tageblatt," from
which it is translated:
To the Gentlemen of th© Richard Wagrner Monu
ment Committee
Highly Honored Sirs: You have dlstlntrulshfed me
with an Invitation to participate in the Wagner
monument festivities; this fact gives me the privi-
U?t to convey to you m>- opinions conceri.tng such
a celebration. We all knew that Richard agner
needs no monument, that he erected his own monu
ment In the Festival Playhouse at Bayreuth. which
it is the duty of the German people to carry out
In a truly monumental manner. Nevertheless, tne
raising of a monument such as yoj have In con
templation might have significance if it were to
become th« cause of a proclamation In which th.»
spirit of the master Bhould find unequivocal Utter
ance. I now read In the announcement that an
historical concert and a pclentlfic musical congress
are planned for the occasion. Whoever was privi
leged to hold intercourse with the master knows
what he thought cf such affairs, and how often he
ridiculed them or energetically attacked them, as
foreien to all really vital art. One may have i a
different opinion, but a festival like this must .not
be chosen to exploit such things. Richard Wag
ner's fame is not founded on either history or
musicnl eclence; it Is living in the- hearts of the
people, and for this reason a celebration In his
honor must assume an elevated, popular character
It Is also said that you purpose to give m ' rt
performances of parts of •'Parsifal- Again 1 call
your attention to the fact that the master con
demned as Inartistic every trnnslation of a dra
matic work into the concert room, and that he re
sorted to the expedient only out of nwcss'ty, In
order to make details of his works known at a
time when they were not performed. After_lS'6
th« master was compelled to take the bat on in
hand in order to cover the deficit left by the Ba>
reuth festival for the execution of which enter
prise there dlfl not seem to be enough money In
the great German Empire^ These enforced P.r£
ductions, however, belonged to the trials of '\'*
life. "Parstfal." as everybody knows, he wished to
nreierve flngly end solely for performance at the
F^tlval riayhouse in Bayreuth. The master can
only be honored by P^formarces as correct as
possible of his own works and those of his peers.
Receive, etc.
To this letter L. Lelchner. president of the com
mittee, replied as follows:
Berlin. May 7, 1903.
Mr. Ohapelmaster Hans Richter. L^idon.
Hlsrhly Respected Sir: We see from a letter ad
dresfed by you to the Richard Wagner Monument
Committee, which came to our notice »rona* the
"Berliner Tageblatt," that you have "Iravjii _ your
information from newspaper notices touching the
things which the committee Intends to do in the
matter of the InaUguraUon festivities It *°Yn
have been better to have acquired more exact in
formation before adviuln* us how \V a? nww«M
to be celebrated. It is not true that tho com ll
tee contemplaten a performance of fragments from
••Parsifal"; neither will th> committee hold a musi
cal congTPSS in honor of Warner. The .act that
such a congress will take place on the occn^pn
of the festival has nothing tn do with tJe festiv al
Itself. The details of this t }val. which up to the
preeent time have been published fitly in part, are
betnß: elaborated but now by the most capable of
professional ("Verufensten") men. Only after this
has been done, respected chapelmaster ar^ >ou
privileged to have an opinion on the subject. \V hat
ever may b« the result, your opinion will not jeaa
u» astray. We believe that we understand aa much
of the spirit of Wagner, and shall carry out the
festival in a truly popular manmr. rot one dei?en
pwSSSa for'fhe Kreat dr artist even afcer
the erection of the monument. The small Waffrcr
conKrfpation which has existed up to t he P^"
("ramillensonderbe.strebunKen").U« are fish tin?
by its disregard of truth. As has already been ob
served, the first official "Memorandum issued b>
the committee (its English version couched In
language very much like that which amused
travellers in Germany and Switzerland) stated
specifically that portfons of the music of Parsi
fal" were to be perfotSMd at a concert on Sunday.
October 4. A later publication called "Promemorla
of which a copy was received by The Tribune onl
last week, repeats the announcement In view oi
this fact the president's intimation that Dr
Richter only assumed from newspaper notices that
"Parsifal" mUBlc was to be given in concert form
ig disingenuous to say the least. A day alter
Royal Councillor Lelchner had written his unwise
screed to Dr. Richttr. Felix Mottl. whose name
had appeared In the list of members of the Hon
orary Music Committee. and whose picture has
graced both ".Memorandum- and ••Promemoria
sent the following letter to the president of the
committee:
ttio-kiv "R^nected Sir: After the communications
tmmmwmm
ment in Berlin. 1 find myself to my own great re
the membership list of the committees. .Whoever
"ciftion to which 1 am oo ' 11 " i * a and on which^
nXiii<l nut rxert an Influence. No matter now
often in life wo are compelled to make.com
promised and concessions, there syet one tWng «n
which we must be sternly Beriou»-In the love .re
the (treat inimitable monument which the Only
One created himself for our salvation. Respect
fully, etc.
Following la the latest communication from th*
monument committee to The Tribune:
PROGRAMME
WEDNESDAY. SEPTEMBER 30, AT 8 P. M.
Receotlofl U) the invited guest*, dignitaries official Mpre-
PatroM in the Great Hall of Parliament (Relchstap*-
Geb&ude* Drawlmc room concert by eminent artlrts
rf int>rnaMonal repute. Promenade concert by the
Rerun Symph^ic Orchestra and by the Koyal Trum
pet l*an<l.
THURSDAY. OCTOBKR 1. AT 12 M.
Consecration eerem. nles.
rathcrirc Of the imperial and royal dignitari*., foreign
.llploma tic representative*, delegates of governmental
and State Institution!, of art a»a culture, at the Mon
ument Square In the Thlergarten.
v " Unt Salute t/v th« Koyal Trumpet Band
"Kaierr-Marsch " by Richard Wmgner. executed by the
unite ,l Military "bands ol the Berlin re rniei,ts.
"Wacht «uf es nahet -<•" den Ta «-' chorus from the
••Mitatersinger." by the Berlin SSngerbunJ.
Unvelllns of the monument.
Ped^on^^ Professor Dr. He,l Vollbeen. Rhine"
f nr, sucuted by a chorus of two thoosud voice*
com^osad of the B oclet! PS wmrtltutlng the Berito
s!n£rt, U nd. .ugmented by a bos", .horns an.l accom
panied by the selected guards' military bassa
THURSDAY, OCTOBEB I. AT 7:30 V M.
Festival banquet in the Gnat Hall of the Wlntergarteii
of the Central Hotel, und^r the presidency of Prince
Fredrlc Henry ol Prussia and Prince I^'-iis I erdttiand
of Havaria. Offlrial speeches and toasts. Prfmenta
tion of the OoMen Comnif.-ninratlon M™a»; fou nded
by the committee, to ih' artists participating In the
musical festivities.
FRIDAY, OCTOBEB --
Ti.rre grar.d musical performances at the Philharmonic
Morninß-Performancc, ■ to ll" o'clock by the Kajwlle of
th« Royal Opera ol Berlin. assisted by Ow chorus of
the Bternscht.r Gesiinfc Verein. und r the direction
of Professor Frie.lrich Oprnshehn. <*-,„*
wteirnoon Performance, 3 to S D'clecS b) the Grand
Orchestra oV the Ducal Open, of Melntnpen. conducted
hV '■Vn.i.i! Miwlk4.lrector Frit/. Steinbach. aMhned by
the United Singing Societies of Her""-
M&rklsciMr Bfaig*rbuiid, Urn Csseltta Bostoty. eta
SATIKI.AY. OCTQBBOI 3. 7:30 O'CLOCK P. M.
By special command ot His Impertal Majesty the Em
' veror and Kirn.-. At the Royal opers House. Orand
fSSval perfomance. "Dl« «iet«er»tag«-." by an
•BMmbte eelected rrom the most celebrated repre
■italivrf Wagner dngers,
BCKDAT. OCTOBER t. V 2 O'CLOCK M.
in »i, Ito-al Sinetne \cii'i:nv mcred moratavi concert by
j " tn,- ; rAn«l Festival Orchestra, the chorua of th«
X val -•n.rir.- a-h.M.,y. conducted by Profe»MS» Ceor*
Bchumalm, and eminent oratorJtil art! 3 t«.
SUNDAY. OCTOBKB 4. 8 O*CIX)CK P. M.
T»o Grand Festival Concerts:
richard WBBTl«r concert at the NVvr Royal Opera nou«»
b> the Philharmonic Orchestra, under the direction of
ProfSaor Arthur Nlklsch, assJated by the most emi
nent representative Waener sing<
lntera?tlonl.l gala concert by the Great Festival Orchestra
under the joint direction .f noted musical conductor.,
assisted by singers of International lebrtty.
MONDAY. OCTOBEB i. 11 O'CLOCK A M.
t «i r, .-,f the royal collection of antique musical
T 7n«.r,in.frt ■' the New Royal High School for Music.
ElshroX'k P. m.! musical farewell Mlrea at the «reat
Town Hall
Darts* the five days of the festival the Interna
tional Musical Congress holds its sessions in the
Reichstag Building.
An impression seems to have got abroad among
the admirers of chamber music that the Kneisel
Quartet purposes to change the scene of its activi
ties to Europe. This is not the case. The quartet
purposes visiting Ix>ndon. Berlin. Paris. Vienna
and other European capitals early next summer,
after completing its season here. It will then re
main a.broad for some months, to give concerts in
cities where summer seasons do not prevail, but
will be back for Its regular fall, winter and spring
Beason in J9W-'OS. There will not He less Kneisel
Quartet music for America because of the change.
Many of the Western cities, such as Chicago. De
troit. Cincinnati, Louisville and St. L*>ul.«. which
have had to Le neglected hert iofore. will enter upon
the enjoyment of the privilege of hearing Mr.
Kneisei and his fellows. Mr. Sveeenakl will spend
the present summer in Europe, but Messrs. Knel
*t I Theodrovlczs and Schroeder will recuperate in
Maine.
Th« officers of the Philadelphia Orchestra hay»
issued an a.pp«"».l for a »»arrtnt-»« find, in which
they say:
Whil« th» orchestra ha* b«»a conducted on •> Üb»
ervl na«!=> there has been no undue extravagance,
out sTmsmW effort has b*«n «par«U to mal£
■ililiil
■Hi
WBHSSfM
as 50 per cent would probably cover • apy low L?
to the present time the amount of thedcfU l o^er
and above the guarantee fund has
f*w (three or four) enj>r..u3 and P u f < ij r il>l^':
member* of the association. It is « ot , 's^'^ w
ever, that the burden of such an "P.^.y** l^
EhmiM h*> borne by a few. when the whole com
munity Is benefited? and th- director, appeal to the
public generally to aid in this wor<.
The summer season of Terrace Garden will besin
on Saturday next. May 30. with the Terrace Garden
Opera Company in "Th^ Brigands" as the attrac
tion. Managers Suesskind and Rehfeldt an-1 Im
presario Montegriffo promise a good perform
ance of Offenbach's Jolly opera bouffe. with as com
petent a company as has been BSSB during the
summer months for many years. Mi.=s Marion Field
will tako the place of Miss IJlllan lleldelbach (who
Is at present 111) as prima donna In the first per
formance of "The Brigands." The cast will be as
follows:
Falsacappa. a brigand chief Harry I^jckatone
rietre, his lieutenant J"hn HcßMnon
Captain of the Carbineers..... Douglas nnt
I>uke of Mantua - George lj»'Jm«n
Count Gloria i iaaals '*&& I T sSlly
Haron de Campo Tasso -Cha 'rlesA. Sl ""'
Joseph Antonio. BBnfster of Finance Krank Farrln*t<.n
Pablo. Preceptor to the Princess C*«r«;» \7"J?'n
SSS&ar !^ k^ r ">-.v::::::::.-.v.v.-.::I- 1 Fa'dSS
1 ! ::::i::::w«ii-.5SS
A courT"r .. William L*nsar
Fraproletto. a youner farmer airfnn FirfJ
Fleorella. Falsacappas daughter -Manr <n J •*"
Princess of Granada "rl^il (£c
Adolphus of Valladolld, her page Connie Mac
There will bo a grand operatic concert at the
Garden every Sunday night, at which the entire
company will sing. Vaudeville and orchestral con
certs will form the other out of door entertainment.
Mme. Schumann-Helnk is now in the West sins-
Ing in a number of festival engagements. In tho
course of 'the comins week she sings in Indian
apolis, Cincinnati, Saginaw and Ann Arbor. On
June 4 she will sail for Europe, not to return until
the end of January, when she comes under the
management of Menrv Wolfsohn. Her first ap
pearance nrxt season will be in Brooklyn on 'Jan
uary 2S, alter which she will sing a recital in this
city and give her first recital in Boston, to b« fol
lowed by a series in Washington, Troy. UUca,
Syracuse, Toronto. Montreal, Albany. Rochester.
Oberlin. Cleveland, Detroit. Milwaukee, Min
neapolis. St. Paul and Chicago. In the last named
city she will g!ve recitals. Mr. Wolfsohn has also
closed the Cincinnati festival for Mme. Schumann-
Helnk, after whrrh she will tour the Pacific Coast,
where she will sing in fifteen concert".
STUDIO NOTES.
Dt I^uffr. is now dsstasj sis stiidio as. a nMIMSjg
ready for his teaching In < hautauqua this summer.
The season. Dr. Dufft say.-, hns v )een a buay one.
This week the doctor will .«ins in a series of ora
torios to be given in Ohio, after which he will give
a number of r.-cital3 in the same territory. Next
fall Dr. Dufft will take up the work «>f teaching in
New-York with renewed vtaor-
The intendance of tfce Koyal Bavarian Court
Theatres are publishing the dates of the Richard
Wacnsr Festival Plajn al the Prinzregenten
Theatre at Munich in 1003. The performances will
take piace as follows: From AUi Bto 11. "Der
Ring dcs Nlbelungen"; August 14. "Lohengrin .
August 15. "Tristan und Isolde"; August 1.. ' "l ann
hauser"; August 13, "Die Meiatersinger v..n Nurn
berg"; August 21, "Lohengrin"; Aoffust 22, •Tris
tan und Isolde"; from August 25 to August O.
"Der Ring dcs Xibelungen"; August 3L, - rann
hauser''; September 1. "Die Meistersinger yon
Niirnberg": September 4. "Lohengrin"; September o,
"Tristan und Isolde": September 7, "Tannhauser; :
September 8. "Die Meistersinger yon Nurnberg ;
from September 11 to September 14. "Der Kins acs
Kibelungen."
ANCIENT NEW-HAVES ELM
Planted on Day Benjamin Franklin
Died— Will Have To Be Cut Dozen.
New-Haven, Mny 23 (Special).— Experimental ex
amination of the famous old Franklin elm, which
stands on the Xew-Haven green at the intersection
of Church and Chapel sta., the two busiest thor
oughfares of the city, has shown that within a few
months this noted landmark of the City of Elms
will have to b? cut down. OM age and the en
croachments of modern methods of paving side
walka and streets have signed the death warrant
of thl3 fine old tree, which has been for over a
century one of the features of New-Haven.
As far as local history shows, the Franklin elm
is the second oldest trea in tho city. It was set out
April 17, 1790, by one Thaddeus Eeecher. aad as its
planting happened on the same day on which
Benjamin Franklin di-d. the elm was named after
him. AVhen it was set out. the spsca. or public
square, which bad been kept as It faa originally
laid out in 1«», was nothing more than a general
market place and training ground for the local
soldiery. Where the elm now stands was a puoilc
pigpen and all sorts of rustic bargains were driven
on the spot There was a marsh or soggy piece of
ground there, where the cattle, owned by various
citizens, came to drink after feeding all day on the
rank grass of the square, nd this marsh ha<l an
outlet in a small brook that trickled across Church
*t and southeast to the estuary that at tha: time
ran up throigh the city parallel to George-st.. to
noar xork-st. Tbe town iMUSip at the present day
stands on this site, and is a continuation of the
ancient custom of the thirsty people of the town
islakitit: th.ir thirst at the place.
The Franklin ••Im Itself was brought into town
by a drunker, rustic named Jerry Allen, who was in
urgent need of more spirits, but who did not have
tho j.rir^ in silver with which to buy his rum.
Vllen in^'i;'-'! the young elm In from Hamden on his
back and offered It to Thaddeus Beecher, who kept
an alehouse and tavern where the Exchange Build
intr aow stands, f.»r h fail return in iiery fluids.
Thaddeus Beecher bought the sapling for a pint of
rum and Immediati set it out on th.> green corner.
From that day it nourished and has been a land
murk of the te-wn.
BURNING GAMBLING APPLIANCES.
One of the Matures of the anti-vice crusada In
Philadelphia was the burning the other day of the
gambling appssucss and slot ssacktsMS whi'-h had
been seized la the work. The Law ami Order So
ciety i>f the city, of which D. Clarence G'bboney is,
the secretary, had devoted Itself to the effort to
rid the city of what had demoralized many boys
FAMOUS FRANKLIN' elm ON NEW-HAVEN GREEN. _^
Condemned to be cut down tscaus* <rt 4«c%y. It Is tta* ma* on th« corner of tn» uroea.
Musical.
THE GBAND CONSERVATORY OEMTJSIC
L>r. X r*ss]|ll>rl. President. « WfMT 83D BTREFT
U>tween t'otaralus Avenue and Central Park. >
Th« only musical school that in empowered by act o
Lt-Klstaturn to confer th« r»st;:tar university deuri><»».
Thorough Instructlrsn In at: branch**. frt>m t: • Sr>t !-e
ginnlnx to rh-- htahewt artist!-: p»rf«tl->n.
Op*-n dally u.-UU & I. M.. except *V«-r!r.*s<!;»ra aa& Satur
days '(> I. M.». Open ail suaim'r. Moderate fraia.
TARI F niIFFT teacher of singing
IAoL L», l/Ul I «, rt-.-n 6. 3D East 2=4-«t.
f*PI Ifl ■sSSsi O. O irorr.b*r«rr. 22» W. Msß 9»
MtLLU Concert, rhurcb and eh*«nb*r muale.
— — ■ ' — — -
CH Ut MARK '""P" 0{ KhttaSmgtr. . Piano ..
CUARISET harmony. t>ian« Ir.nrurtlnn: Ita!!an TM^ho«i:
\J moderat* term* JOHN GEX.NAP.O. 251 We»t 3»th st.
GUST A V L. BECKER.
CO.XCKItT PIA.MST. COMPOSER * TUACHCR
(S«ml-month!y lecture-iuuslcAi*.)
fiend tm Pms notlcs, tic. I tt'Mt l<UOl Sf.
GUSTAVE F.EHN. piantt?: lr,«tnict!f>r» fiT«n: Urcu
J ino<leraf«. Studio. 3.«8 3d-av». . Bronx 80-os«*i
; _
LI AC IH Conservatory of Music.
riHOIMHi 2;53 Seventh ive. Bet. 127 th * 12StH St.
TXSTUrCTION In Sin«ini» fStoesaassts slerhod): rtsa
X •nd Harmony: fr«# to t*;«n'«4 naplte. C'.assss beta*
orßamxe-i BAUER. Carn*rf> BSsSI studio 406.
UUIE^MACHI^ SS^SST
C«rttflcate<l puptl ef Vannaectni.
MRS. HENRY SMOCK BOICE.
VOCAX. STUDIOS. 127 MDONOTmiI ST.. JTXI.T.T
Hon.. \V>d. & Sat., Summer Term. Z-i E. 23d St.. MSJ TorH
MISS M. KC3-TXEa Teacher of Zither. Banjo, Jfai
d<lln sai PUno: thorough SJSSssal M East C:-»t
PRIfiE-COTTI-E GBNSE=VATORYr
2.105 TTH AYE.. COB. 123 TH ST.. X. T.
DAILY CLASS.
Puplla at'«fldrir h<» <-ia»s ■ssslSS aa hoar ass s hall
musical instruction EVKRT DAT.
Call or write I3T circular.
SCHOOL OF
MUSICAL ART
THE H. SCHLOSS S«ys&gS£^
furnishes mualc for any occasion, smi nums«r ol s««c*r
Taeht and fcoat clubs «r.d nearby summer hots! raacajsn
s*na for estimates, which will be che-rfuHy tfven. Con
cert or ballroom SMSJSe; fcssl of re'errnic^s.
T~~ HB FRANK LEA SHORT DRAMATIC SCHOOU Ca?
n<?*ie Hall. X«w Tork Classes bein* «r«ar.i»sd. «ci
for clrcultf. _^_^__^_____^______
-VriOLIN AND H\F M' N y INSTRUCTION BT PCPII.
V cf Professor Car! Mark*«-«. of the yal Scbool >:
Mnaic Berlin, Germany. Studio. 3 East 41st 3tr»«t.
WILUAM G. OARL
OIUiAN I.VSTRCCTIO*.
Send for Catalogue. 34 West 12:h Str—t.
Walter Arnold Hudson
Physiolociral Vole<» Training on the pr'neiple* of th« n4.L
Italian 3choo>. BREATIIINO ENUXHATION'. Bill* IS.
4«S> sth-ave.. K. T.i City Rank Buiiii.-.g. New-Rochet*
nr.l youn? men. Th* public burnln? of the p*r*
phernalia »hi< h was found in UM gambling places,
mc! ..Kilns all forms of machines and apparatus for
games of chanc< took place in the presence fi
miiny pt- rsons. r.enrly a thousand of th* gasslBB»B
appliances being destroyed.
NATIONAL GITAED' NEWS.
Major General Roe has issued adlitloijal ordwis
concerning the field ssWlsl of the National Oaard
This season, for the first time, brigade commanders
and their staffs are chargfed with tha direct re
sponsibility In the Third and F"ourth brigades O*
providing transportation and subsistence for Oelr
brigades, while brigade commanders will direct
command. The Ist and 2<l regiments ami the 4th
arrt 10th battalions and Troop B wi'.: perform ftel'J
Ktrvlce a-t a permanent camp in command of Gen
eral Oliver or the Third Brisad' . an<l tha >55ti
Regiment and the Ist. 2d and 3d battalions of th-
Fourth Brigade, in i smnisiiii of General Pettebn«»».
will encamp at a convenient location within their
diftrlct. '■.
The €th Battery will encamp in the- vicinity o
Binshamton from June 2 to y. The rost cf sub
sistence a man a day 13 not to exceed 3$ 5-100 cent?.
The M Battalion r,f the 9tli BsSsjßssssl w! go to
Creedmoor E?xt Tuesday for annual rifle practice.
At the inspection of the M Battery, by Captai::
Rasquln, under orders from the War D?parim*>!'r
Hi men were present, out of tfl on Hsi roll. Th
7tn and the -"5d rssjlssents. up to date. leaJ in p-
cntage of present at the inspection entered or tn
"War Department among the r-i?i:i. organiza
tions.
The headquarters and the tst Battalion si the
71st Regiment will assemble at its temporary qu?: -
ters In the Leno- Lyceum, to-morrow night, ftw
Inspection by Lieutenant Colonel Howe and Stajor
\mes» U. S. A., and the 2<J Battalion will a.«=?cmt.>
Tuesday night. Major Clinton H. Smith has sron.
T.i: a leave for sixty days.
Company D of the 4Tth Regiment has electoi
gecond Lieut-mant Richard P. Ketchum a first lieu
tenant, vie- May, promoted captain. Sergeant
Charles A. Miller, of Company A. who has serve-i
over twpnty-tive years, has received a, c >rnmissio-:
from Governor Odell oi brevet second lieutenant.
When UM 22d Regiment goe3 to the Peekskill
camp it will have Lieutenant Colonel John Bogart.
engineer of the National Guard, as an Instructor.
The regiment will be excused from all Infantry
drill, and will engage only in guard duty and en
gineering work. Company F baa elected Second
Lieutenant Joseph A. Tumey rirst lieutenant, vice
Lowenbeln, promoted captain.
Quartermaster Sergeant Armstrong of Company
F, U&th Regiment, who was recently dishonorably
di.->har_sed for alleged neglect of duty, has decided
to risht the case In the civil cosjHs, and has ob
tained eososssl to represent him. He asserts that
be did not neglect his dutj within t'n«.!r.««ntng of
the law. but was for .i tirr prevented from per
forming it by circumstances over which he hart no
control.
Troop C. at it 3 inspection by Captain Ro-*an of
the army, paraded ICG officers and men. Th-rp
were only three men alsHat, and sickness was the
cause.
Company A of the 23J Regiment will tro on *
march out from Jt:ly 9to 1-- The first cam? will b
at Lake Ronkonkoma. where the company win
SBCSJSBS for two iatßhtsx On Saturday morning.
July 11 march will be taken up for Sayville. Sun
day wiil be largelr devoted to water sports and an
exhibition drill. The return t-> the armory will b«
by railroad. Sunday night.
Squadron A will parade on Memorial Day. as es
cort to Major General Rw. The ssjsaadrssi win pro
cee«i to Creedmoor for rifle practice next Friday.

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