Show music in america ysaye the belgian violin viru virtuoso t OEO is now visiting Biting vi the pacific coast ile he has bus a most interesting personality ile he is a production luction of a land heie men devote their lives to art for arts sake and IN whose boss enjoyment enjoy mentis is derived entirely from their art in his kunst fis ill the german calls his big art ysaye is is a in master aster bold sure bure of I 1 his ais opinion in in his judgment with ith ills his work A reporter asked him will you you tell the public truthfully whit what t you on think of ivisic in america abaye had bad no hesitation in iu speaking plainly lie ile did not viernow with effusive compliments as most performers do before their performances nith iab an eye fixed on the bo box x rather than on the truth ile he is an expressive talker ile he speaks almost as much with his big hands and Is y es and lead head as he be does docs alth ills his mouth replying to the question he be clutched his neck nith lith his fat fingers and choked hims himself if and then with ill his face flushed lie he said eaid it is strangled by the germans they choke yc ur nationality you ale aie Germani sed you must 11 in t be yourself you must be american now the best thing I 1 have heard heie is the american symphony by D dioran orak a bohemian but be took popular airs of america the folk music and created hia big symphony from them it is splendid do you you think it possible for us in ame america ripa to create great music certainly certainly ceita it is bound to come but you must liberate yourselves from the germans your system is lirong too when I 1 asked in chicago where they showed me a conservatory that thant cost well I 1 dont know how holy many millions what is the result achieved they could not point to any ko master d developed e v elo ped I 1 no creati cre itne e music prod produced need I 1 only talent now in vie the conservatory of brussels I 1 have but eight pupils I 1 the directory will not permit mel me to have more but in chicago the teacher of the violin has as sixty ilia his success is measured by bv the number in his standing music I 1 j must be free too tuition must not bo be charged for you knon gnoj the artists corne come from I 1 the he poor I 1 from the working claas clais not irom from I 1 ine rich the poor floor cannot pay instruction should practically be free I 1 give instructions two hours three times a week that is fill all T that b at ib enough you should have a conservatory I 1 in america with inith one great diab tor of the violin another of the cello another of the piano another of singing each with not more than six or eight pupils then you will achieve so bething me thing what do you think of the orchestras ch estras of if america then ysaye did express his opinion with loth hood handl up wit with eyes dilated with animation in every lineament ot his face lie he exclaimed what can call an do dominated by a trades union that is no art that is not music bahl you can have no orchestra sheck led by a union where is its enthusiasm for art in new york a great soloist was brought from europe to play with cher chestra tra damrosch Damrosc li raised his baton but not a note was sounded the musicians sat mute the soloist was not a member of the union the orchestra would ifould not play with him Is that art and ysaye looked disgusted then he expressed his opinion of how an ail orchestra should be supported of course it was an old world idea the government should support the orchestra he be said eaid and give a pension to the members of it after a service of twenty five years here you have a gray haired orchestra its bouth its enthusiasm gone and the audiences of america what have you to say Fay about thema they appreciate good music j just list as much us as in berlin or paris in the small towns there are also an appreciative few the audiences support good music I 1 find little difference diff tience between them here and in europe Ald musical |