New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1873-04-01
MUSIC AND THE DRAMA.
MUBIC.
ruBrSsrEM-THE OCEAN SYMPHONY.

MUSIC.
rurBISsTHfs-TIR OCEAN SYMPHONY.
The performance Of Rubinstein's "Oeosn'
symphony last night By tho Thomas orchestra under
Rnbnstein's own direction event OF phenomenal
interest In musical circles and though 1t did not sttrso
such an overpowerng audience az We should naturally
have expected to see, 1t drew together asomevhstr r.
assembage Of artists and connoisssurs, smOng
whom were probably nearly all the prominent profes
sional musicians In tho city. We may say at once that
the brightest anticipatioDs were moro hss
satisfied. The execution OF the symphony was
"a grand piece Of work we have ever heard from
any orchestra and cannot imagine any particular IN
which II could have been better while under the mag
Detc influence OF composer the work Itself developed
strength variety and beauty far greater than had
previously found In t. The truth h. however that ths
Ocean" symphony never before been PLAYED here
in full 1t was first introduced 10 NewYork by tbs
philharmonic Society two years ago. az compos,on In
four movements II has six, the allegro eon f'oo
| and ddogto which stand as numbers three and
! four having been added By Rlbinstein a. aiHf-
| thoughts and the performance Of tho work
IN ia present form ills good hour Yet it certainly
not too long-at any rate when played "a IL was last
highland there be no question that 1t has osea
greatly enriched, and even improved In structure. eT
the additions IL docs not belong to the class OF oomp
sltions known as Programme Music. II has no trivial
limitations OF the sounds Of the sea. roar Of the sEsp
There ia not even representation Of storm of u
what Mr. Noodle called the tempestnous bowling Of the
sailors But lust a. Beethoven called 70 our
minds the music OF pastoral me- AMI
Schumann. in that beautiful Cologne" symphony
which we heard few weeks ago, suggested the bright
and changing scenery Of the Rhine, 10 Rubnsein con-
yeys In the broad passages OF this superb work the r
liable expanse and depth Of the the Irresistible forca
Of the elements, the immensely Of Gods most fearful
creation and the terrors OF the tempest alternating VIVA
the melody Of plashng waters. II IL not sncb gran
doae and oyerstrained composition a. LsZt wouia nave
written on the same subject IL 49, on Ine contrary,
clearly classical in form and for the moot part suDo'e1
In expression; the modulatons are rarely ehrayagabt
the thought Ia always distinct and the uterance OF -
direct s possible; and every movement abounds In eE
ouiste melodies The allegro con Iuoeo Is the near
est approach 10 the grotesque which me ynph"Dy
affords but even this does not the bounds OF inc
legitimate Tho adagio Is one or the most graecih
and spontaneous movements in the whole WORK. ana As
the second movement GndaHe dssd and part OF the ns'
6q1ro pdesoso) breathes the very soul OF tenderne
The scherzo has long been popular The fndb rads up
20 a magnificent climax in Luther's choral gradually
introduced with many Ingenious PROFESSIONS aoa Scoro'
with surprising richnessa hymn IN reeognti0n VI nS
Almighty who holds the in the hollow OF his hand
To hear these splendid conceptions interpreted bS MI
Thomas's players guided by Rubnsteina own bacon "7
an experience long TO be remembered. For RdDinstcn
s hardly ess EN- rent "a o conductor than he Is a. an
executant. There is abundance OF nervous energy In
his motions, but no extravaganza He never looks ~
the sooreat least In leading his own symphonyand ne
nuts the desk away at one side. Standing IN an attitude
OF command before his men, he guides them Win QUICK
hut not at all ungraceful gestures, using both bands ana
conveying unmstakabe signals with the eye ana Tue
head He knows exactly what every separate nsunent
has 20 do and he fails 20 bring each one IN ~ 20"
right instant he trusts nothing to the memory inc
Judgment or the study Of the players Eceentce7 OF
tempo shades OF expression. all the delicate n"o'f
which are 30 abundant in this symphony-he msrs
them ALL With one hand he seems 70 draw plain,iW
phrase from the distant reeds while with turn OF tho
other accompanied by curious bending ana SWay'hS
OF the body he get quick sweeping passage ouI vi ''
violonce at his feet It is curious, indeed to notr
how he indicates emphasized phrase TOT tne sIius'
nv the nrecise motion Of the wrist which be wants biz
players 10 initiate But these things are ohIy 1ue 0s
nical pecuarities Of his conducting. The secrets
nor in them. but in the magnetic power Of the nnans
power which cannot be explained cannot be described
can only be felt
We can hardly overstate the enthusasm OF the auh-
ence II broke out after each movement OF the sym-
phony: it was redoubled after the seAeTo u SH
ouadrupled at the end when Rubinstein was recalled
again and again. Mr. Wieniawsh also received cor
dial welcome He played the Bach Chaconne' magDi1-
Gently and afterwards his "Faust" fantasia apologzng
in good English for the loss of some Of his music when
Obliged him TO substitute the Faust for fantasia on
Othelo,, announced the programme. The Orchestra
played several pieces under MI; nr1r ana the
Menuet FolletsT aud - Ballet des sylphes from
the "Damnation de Faust Oh bernoL, Anu snG plSS, ed
TO detract from the enjoyment Of the evening except ire
unfortunate and unaccountabie lack OF prOgranlme1
accident which should not occur III Te@sohaoy wen
managed concert.