New-York tribune., 1874-05-07
MUSIC.
THE HANDEL AND HAYDN 5OCIETYS FEs.
TIVAL.

fBr TELEGRAPH TO rRIDUsE.I
BOsTON, May 6.-The Wednesday afternoon
concert OF the festival presented the following pro-
gramme:
1. Overture "Hurysnihe." Weber
q Aria. Ali Qael Goruo." semIramde. aoSsiai.
g. Concerto string Orchestra, Bach.
4 Unfinished symphony In D minor Schubert
s. Overture Midsummer Sghrs Drssm." h'ndesoha
O. Recit Ed Aria "AhI Parlste,Abrano" Cimsross
T. Variations on a theme b. Haydn. BrshmI
g. Aria, Qui gdegno. Mage Flute" Monrt
o. YOrspel, Die Meis,ersioger." wagas.
The third seventh. eighth. and ninth numbers were
conducted by Mr.. Theodore Thomas. The yocaiists of
tho afternoon Miss Cary, Miss Wynne, and Ms.
Whitney. The Rossini aria showed of the exquisite
beauty OF Miss Cay's voice and the perfection OF her
schooling to good advantage Miss Wynnes singing Of
Cimarosas really very beautiful and interesting scena.
was in every way capitafu Of feeling fire. and artistic
good taste Mr. whitney had in " Qu 5'degno" a noble
song well suited to his large voice and majestic style OF
singing The orchestral numbers were most admirably
played. 1t only rarely that Boston has the chance
Of listening 10 such an orchestra. sohuDerps unnnshed
gem OF symphony never received better rendering In
this city. Bachs string concerto was most interesting
and inspirpg novelty. Brahms variations seemed
strained unnatural and wholly out OF keeping with tho
theme. wagners mighty "Yorspel" has never boon
heard here to so much advantage, although s larger
orchestra is necessary to give full effect to Wagner'
sonorous orchestration BIT the great work made
deep impression nevertheless with its majestic, on
| -ulyluh N'VuiVo 40 ~
derness with grim Titanic humor and satire.
THE EVENING CONCERT.
The evening concert opened with very finished por-
formance SpOhrs gracefully written overture 10 Je
sonda followed by the air, BE thou faithful unto
DEATH" from Mendelssohns "St Paul." when was
sung with great feryor Of expression by Mr william
Winch. II this gentleman had as good method IA 10
has voice and musical instinct. be would be one OF tho
very finest tenors in the country. The main part OF
the evenings work consisted OF the nrst parts
"Sprng," from Hsydn's seasons" and Beetho-
vens choral symphony IN ID minor The soIoiss
in the Haydn cantata were Mrs. H. NJ smith, Mr..
George L. Osgood, and Mr.. John Winch Solosts, cho-
rus and orchestra We'd with each other in making this
fascinating composition as enjoyable as possible. 1t
was captally done in respect. IL would be dn'
cult TO 1ud in the whole list OF classic choral
compositions, works that present more striking
contrast than Haydn's "Spung" and BeethoVens
Ninth Symphony The so wholly sunny, written
in such wholesomey happy mood; the other big with
ioy and triumph though from tho very first. telling
Of such mighty struggling with stern fate so fuii OF un-
bending Titanic determination to overcome all obstacles
in the path OF the truest happiness fet dnerent as
HaydD's "Spring" and Beethovens Nlnth symphony
are they have yet something In commonI Each
work is In its way, hymn OF Joyous
thanksgiving, looking back upon past troubles
and welcoming openarmed coming happiness. Bus
Haydn's "spring" is the more quasi an NAL thanks
giving for the unearned bounes o. Kind nature sors
OF OaSklng IN suicg 'i' 'J'J W
which is enhanced by luxurious remembrance OF her
Winter power II seems easily 10 take JOY and pleasure
for granted the unavoidable results OF sunshine ana
fine weather. its theme il OF the lghheared careless.
childlike sort, beautiful OF Its kind
The Ninth Symphony the other hand, shows us tho
higher and HI CHEST kind Of Joy firm faith IN happiness
in spite OF all obstacles in happiness as the reward OF
victorious exeruon. The it breaches is triumph
over sin misery. temptation perplexing douots-cast
those out thy soul with all the strength tbat ID IN
thee-and happiness Is ever at thy elbow really TO HI
their place even air rushes in to Ill
vacuum Taking Schler's "Ode to Joy" for its
climax the Ninth symphony prefaces 1t and leads up to
IT, but such tussle with Fate Art has rare
ly called upon TO show to men, Yet stern as the
struggle is hope lost The mighty toiier Is evei
strengthened for battle by magic gmpses OF the JOY Ia
come, and even IN the darkest moments Of the fght
when hope would to be well nigh lost ana the facd
OF all happiness ia vailed in sulen Clouds breeding des
pondency aud doubt, strong faith, grim minat0n.
uufnching force OF WILL take hopes place, sweeping
away all hinderances until some new vantage-ground
gained from which the glorious end is clearly ys
Bile than before.
Musically considered. the Ninth Symphony must, by
this tme have lost much OF its engmalc character
Whether regard IL as the Wagnertes do, as the
cornerstone OF the yet incomplete edice OF music
OF the future" The theme upon which tho new
music" is merely extended and difuse commentary.
quondam obscurty. its apparent want Of form. its
its meaning, Is clear as is that OF
tho great minor. The often perplexng and unsatis-
factory Instrumentation Of the work has Of late
given rise TO much discussion not unmixed with yitI
peration, to whether Beethovens original scort
ought in every case TO be unsweryingly adhered to-
Richard Wagner has proposed some alterations in the
score Some Of the changes which Wagner has intro
duced into the trumpet parts OF the Ninth Symphony
were made for the first time In Boston
In this evenings performance. Tho most striking
instance perhaps was IN the shrekng presto nt-oduc
ton to the second choral part. The furious tin
tamarra Of the trumpes, did indeed, have quesona-
BILE effect upon the quality Of tone One Of the passages
that has always given the most trouble is from ths
eghtysecond the nnetyeighth bar OF the scherzo.
where the theme the flutes and reeds is completely
covered up by the figures OF the strings Wagner has
added two trumpets.
But leaving these secondary matters out Of the ques
tion the performance Of the Symphony was In most
respects, superb. The soloists Mrs. Smith, Misc
Cary Mr.. varey, and Mr.. Rudophsen. The famous and
muchdreaded b. in the last quarette brought out
by Mrs Smith with the most triumphant ease and with
thrilling effect. Not even Pareps made so much OF hh
passage. 1t Is, indeed, OF the very few
high notes In all music that worth
getting enthusiastic The chorus did remarkably
we'll and seemed be in excellent condition. The orches-
tai portions o; he work were better done than usual
From beginning to end, with the exception Of one little
slip In of the reeds, which, after all may not havo
been generally noticed, the symphony had rendering
worthy OF It's great and royal self. Higher praise IL
would be hard to give.
THE ORATORIO SOCIETY.
The Oratorio Society, which is to give per-
\ ~.