The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-11-06
A M u S E M E Mt S.
OPENING OF THE PHILHARMONIC SEASON

OPENING OF THE PHILHARMONIC SEASON.
The Philharmonic Orchestral Society commenced
their yesterday at the Academy of Muse Tho
performance was not, during past years public
rehearsal II announced as a regular Philharmonic
matinee concert. Therefore IL is a fair subject for
criticism. Rehearsals, when publicly given, arc
excepted from the critical cruclbe but this enter
tanment is entirely subject to it, There we're three
orchestral works in tho b-the third sym
phony in nat, of Beethoven; a suite de odt
in four movements, by Franz Lachner, and
an overture, ''Juus Caesar" by Hans Won
Below The Heroic symphony by many considered as
tho chef dGvre of the Titan OF music OF those
works that cali for in the Interpretation, band OF
virtuosi. The tempo to be the rock on which
many conductors meet their fate in directing the
greatest work OF Beethoven. The elevated character
OF the Eroica" calls for perfectly tranquil movement
from beginning to end governed, Of course, by the
constantly shifting phases Of expression SCHNEIDER
says that the direction OF the first movement, allegro
con brio, according to Beethoven's ideas should be
taken slower than what is indicated in the published
version OF the symphony, Maelzes metronomc, sixty
TO the semibreve the time being "a Mr.. Carl Berg
mann carefully observed the requirements Of the
pany in this respect. Tho old faces that have been
photographed in the Philharmonic list for years past
were present. and old experienced welded bows,
Yet the performance anything but what would
expect from Philharmonic orchestra The opening
movement of the "Erocan was very tamely played.
The funeral march showed the strings in their brightest
light Tenderness and expression characterized this
movement and the vions deserve the highest praise
for their share in the work With George Brstow
and George Matzka as the chefs ddttaque the result of
success on the part of the violns natural. The
chezo showed the weakness of the reeds and brasses
The strings did their work bravely but the wood and
brass instruments TO great extent neutralized their
effect The exquisite poetry of this movement was null
cd by the eccentric Interpretation of the orchestra
The finale allegro motto out of which such a magnh-
cent prelude and ugue have been created by the
posor-Von Bulow making his chief success in the
piano arrangement Of these themes by Lszt-was again
marred by the shortcomings Of the first oboe and
first French horn player. In fact, the performance,
OF yesterday depended for the strings
than on the other instruments. The orchestra played
also "Bal Suite" by Franz Lachner 1t the one
hundred and SEVENTEEN work of a composer who has
been unnecessarily prolific, AT least artistic point
of view. Theodore Thomas has introduced this COM
poser to the public Central Park Garden long time
ago. Yet Notwithstanding the responsibility of tho
OF the composer, for he is very much
thought OF in Europe, although he is not
the same great composer generally known
in Europe for three quarters of a century the work
brought yesterday for the first time by the Phil
harmonic Society and which is one out of number Of
suites dc bal and certainly the worst of all produced
so trashy that even Carl Bergman, good humored
he generally u.s. too much sometimes for the interests
liberty of excising two numbers out of Mr. Lachners
suite. lie cut out the waltz and the
"dreher" The work is of the "Humpty Dumptyn
form, tawdry and sensational 1t is badly
orchestrated, 10 begin WITH and the commonest of bali
room dance tunes are introduced Eschewing the
rombones in the score Mr. Lachner tries give with
the rest of the orchestra poonaisc, mazurka, an
ntermezzo IA poor polka and galop for windup.
The work s trash from beginning to end and doubt
very much If ball committee would allow 1t in the
Academy OF Music The overture to ''Julius Cesar
by Hans Won BIlow, the renowned pianist,
attracted the most attention. vrtuoso of the
first order, the chief exponent on the ivory
keys of the peculiar school of Wagner,
aud musician, cultivated and experienced, the mu
steal public must always look toward him with re-
spectfu anticipation On this occasion the public met
with favorable response The overture, which, with
a military march, is dedicated and warmly, too, to "Na
polcon Ill., Emperor of the French " is decidedly arts
tic Although there little inspiration in the themes
there Is abundance of art in the harmones. The
chestra exercised considerably every instrument is
employed to its fullest bent but there is not dull
measure in the overture The wonderful and intimate
knowledge of orchestral effects possessed by this repre-
sentative pupil Of Wagner and List is shown in the
fullest manner IN this extraordinary overture Hans
Won B1low is indeed as remarkable composer he Is
pianist
Mrs. Henry Butman was the only soloist on this oc-
casion. She made TWO trying seecons-one from Mer
cadantes CARA" the celebrated aria ''Span dagli
occhi il panto and the other, the Bel Raggio" from
northumberland genuine triumphs that they
really the features of the concert. A clear,
resonant, well cultivated and entirely sympathetic
voice constituted .ahe chief characteristic of Mrs.
Butman's singing yesterday The she selected
arduous, but IN measure did her rendering of
them fall beneath their requirements. Mrs. Butman
proved herself admirable singer, and one that
nature and art in their most attractive forms, have
helped forward to enviablc position among the
prime dome of the present day.