More than a dozen years ago musical scholars and critics began to illuminate the musical darkness of New York with lecture-recitals explanatory of the more abstruse German operas. Previous to this era no one had ever thought, for instance, of unfolding the story, or the “Leit motive” (if there happened to be any! ), in “The Bohemian Girl, ” “Maritana, ” or “Martha. ” These and many other delightful but thoroughly third-class works unfolded themselves as they went along, to the entire satisfaction of a public so unbelievably care-free, happy, thoughtless, childlike, uninstructed, that it hardly seems as if they could have been our ancestors.
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