, 1875-01-24

1881, in y minor, has been recently played in
America Tor the first time BY Mr.. Theodore
Thomas. 1t consists Of four regular movements
in the classic form, that are satisfactory from
muslcal point Of view, but do not appear to be
altogether in keeping with tho motto which il
given as affording an Indication OF the COM
posers meaning. The words ''Gelebt- -Gcstrabt
Geltten, Observation-Disclosures. .-Umworben,"
do not cripple OF contiue the imagination By
special and particular application, it ia true, and
therefore this cannot be regarded as ''pro-
gramme music; yet the movements, especially
tho second, do not appear to agree with the
motto 60 that the intention is rendered clear.
Much remains obscure it not actually inscruta-
BILE in this work when regarded with refetence to
the motto. The idea Of a great artist living in
advance Of his age, striving, suffering, fighting
and after deAth being for the first time appre-
ciatel-his merits recognized. bis worhs eagerly
with laurel Wreaths e,,rore1 BY lovely hands-is
so familiar to the musical composer that one
would expect such thema to bs productive OF
great results.
The - sCisconne ~ By Bach, adapted for orches-
tra by Raft, aud dedicated to the New York Phil
harmonic Society, hns also been brought forward
by Mr. Theodore Thomas, IN common WITH Herr
Brahms Hungarian dsucee. and other works,
especially the new Ra1 riano-for;e concerto. h11
Mills Is unable from III health 10 perform slls
truly artistic production, and therefore tho
NEW YonK PHILHARMONIC SOCIETY
had the honor OF giving the work hearing for
the lst time in the country. It ia 4 nobla COM
position. aud one that *lll become popular NTH
piauista. In each Of the three movements tho
themes a1e developed With great contrapuntal
skin. Ths melodies, especially tho1e in
the cndante, are exceedingly graceful. free,
aud ultra-modern in character; yet, IL
though they arc handled in such !
scholastic style, there is no appesranco OF stin-
case does it appear thai they vera originally de-
slgned SO that they would be susceptible OF this
highly artistic treatment, nor are their beautiful
forms ana motions cramped or impeded IN the
moat complicated passages. Tie chasts aid
delicate tracery and lovely arabesquos with whlch
the piano'orte adorns the whole are eVldeneea
Of refined taste and also even OF shght las
tidiousnesa which is seldom pefceptaoie 70 com
positions SO absorbing and deep.ielt IS shie eio-
quent movement. scAumann % tnlfa n,.;e2 ;se2ympnony
in Z Hat was p!ayeq ae Tue !as. + fatiaalmou1e ~
concert in manner which brought ont its Efano
and sublime character This orchestra being
extremely large IL em1nentlg aoap!eo 70 Per.
form broaa sublime music; though II does NOT
succeed 80 we'll IN Schera OF IN snch e1Iemeiy
delicate work Is !or instance .n9 INTRODUCTION aa
meutal introduction to the beetho'en, Cantata,
written by tlszt Tor tue 5eethosen eeleosauoa
1t Welmar, has also fonnd place ~ tnese pro
grammes. II consists OF Tue Anaants IRON
Beethoven s1th ITO LOT p1ano1otte. foHn. aua
v1olonceuo scored .1r 49,! tan mene hn.a,, m..n np
PRESSED. Ihe music IL 1etse Aao .oul-ssat1ns,
and yet seems ALSO sfanauaa ana he1ene. u :.
deeply pathetic, Serious ma .3:1, gfAee ana
yet appears ehee1!ul. s'1, I'LL LILO Wse W
and devotlon OF , .rs .1 p'ss.pis ,tt.,. ~ .uo ~.
great master. llszt se!es1eo .nsse ne.aeat "a % ".
terances, aoo emploSeo tne ocago1a ~ p1oeA94 -
them with unanimous Voices tna1 tahes ~ II
were Boethovens own expressions, ~ auu te'oan
them multiplied teFensg-io4a ~ Gne co1olal 1 r.
sponae1 q xple Ihs in IN desi sense
place themselves 10 measuIo ~ oi!ec. c9tn-
nun1on Rlth 1ne Sp111s VI o41a @oos osusoseu ~
assemble TO honor.
THE OPERA.
At the strahosch ltal1an Cpe1a me principal
works given towards the closs OF tue season
were W2gner's As 'lohengrln aud Aozart's
+" Don Giovanni" both OF which DIRE" c1pWdeo
houses. In 1Iohengrln, y Nile. Emma Aloanf
appeared to great advantage. 6he had evident
" mads the part OF Elsa special aud conscien-
tous study. In many respects It was an orig
inai fmpersona:ion. She acted with scrupuiouR
fidelity to the composers directions, and With An
earnestness which Of itself did much TO sam
admiration. Signor Carpt was naturally emit
neDtly well fitted to sustain 1he part ana slss
Cary "a Ortrud aud Signor Del Puents n Fred
erick accomplished much, and fully sustained
the interest, especially in the secoud act. But
the opera season, on the whole, did not realize
tie expectations Of the subscribers, aud the
results we're not entirely Satisfactory, elnef 70
we're promised, these we're not produced, and It
WAS in the end discovered that tho management
relied for SUCCESS on the principal singers alone;
for weak and fnded Verdi operas in Which some
atst might display gftg tns sna arsst
productions Of modern art were set aside. Mar
chettl's *sHuy Bins " was failure, and Fetdls
ss Messa da requiem" " though announced as the
greatest and --latest" work Of its most celebrated
composer, did not prove to be production OF
s.A%r roc;n