The New York herald., 1876-10-29
ADJUSTMENTS.
G1cToR BERLIozs SYMPHONY AT sTE1xwAY
HALL.

01cToR BERLIozs SYMPHONY AT sTEIxwAY
The nrst symphony concert OF Theodore Thomas
took place last night at stenway Hall before audi
snce that filled the music hall OF the metropolis 10
Svernowing The occasion was worthy OF such mag
nihcens response the part of musical public
There were three works-Beethoven's eighth sym.
phony, Schubert's piano fantasia opus Is, arranged
for piano orchestra by Llszt and Hector Berozs
dramatic sy phony, "Romeo and Juliet" The Beet
hoven symphony played only Thomas orchestra
can play II, with due appreciation OF the sublime
ideas Of the immortal composer Nine Schiller did JUS
sice 10 work that introduced TO the American
public by William Mason at Philharmonic concert
and which Rubinstein Afterward played in It's original
aorm - piano solo, But the chief share OF interest
wa concentrated upon the work Of Berlioz The late
Dr. Ambros, . well known musical iterdteur Of
Vienna. has given fancirui sketch Of this symphony
He says that ts remarkable that Shakespeares love
tragedy, as treated by Berioz should lie In the GUS
somary tour symphonic movements, Notwithstanding
the cloud Of interludcs, arias and cnoruses not
forgetting the finale which is worthy Of grand opera
Beriioz was ardent admirer OF Shakespeare;
witness his "Lear'' overture, his nsarcAe anebre
"Hamlet," ana the love poem OF "Romeo and Juliet'
attracted him the composition OF grand symphony
embodyng IN music the hapcss loves OF the Montague
AND the Capulel The lyric and passionate features
pf the tragedy have been frequently maze use OF by
speratc composers. But Berioz was cas-, in higher
mould, and his inspired mind the ideas took the
korm Of a symphony. AT tho Capulets ball Romeo
becomes acquainted with Juliet Before that be is SEN
and therefore melancholy Then there is the
1hs last signs OF the lovers in Frsr Luwrences cell
Here IL, Dr Ambfos says the Kernel OF four sym
phonc Mcvencnts-introduction, Capulets' ball,
asd finale scene in Friar Lawronoes coll col.
and voices Indispensable. The chorus be-
comes orator. and describes the words of Emile
Osschsnrs. tie progress OF tho action. The necessity,
TO tLo miLd OF the composer OF introducing the prn-
cipa scenes 0: tho tragedy form harmonious
button o. movements s-ln,roduction quarrel, tumult
aud authoritative proclamation by the prince ruler;
prologue, chorus recistive very much like psalm
tuue; alto solo, describing the power o love superb
tone poem with cello and harp accompaniment, and
rendered with rare expression by Miss Henne); tonor
rnctacentiy sung by Mr. Geor se werrenra,h, tenor
ei very husky enunc,ation). First movement for or
shestra-Romeo's melancholy, concert and ball
~ the palace Of the Capulcts--interludcs and
yhorus Solitude, Instant sounds the voices Of the
young Capule,s going home. Adaeio, balcony scene;
icherzo; interude, orchestra and choral psalmody,
Julet's funeral procession; interude, Romeog last
snon with Juliet. Finale, dramatic scena. choruscs
sonciliati0n and peace This strange mixture OF SYM
shony oratorio and opera Dr. AmDros calls 1'trage
Nph" In the adag0 the course OF the ShakesneHr-
mn dialogue in the balcony scene may be discernsd
sith considerable exactness in the melo
les, that not only is the orchestra divided To
carry on u formal dialogue between the deeper toned
instruments violas cellos, bassoons and horns and
nleueT tOueu ones tVlonnB, uuteS, nautOOyB anu
clarnets thus symbolizng, In a somewhat material
is,ic way, the love scene between Romeo and Juliet
the moods of the lovers. Hence there is
IN almost formless, dreamy beginning, out OF
which soulful cong gradually rises; the cello
snters short recitatve phrases occur to which the
higher instruments reply in full OF fear and
agitation; glowing melody advances and grows TO the
utmost intensity; moment of solemn interruption
occurs Nhc farewel; broad lingering close, contin
ually bringing back snatchos of melodies just
as IN the original the lovers repeatedly
surn back with still last word until
She long diminuendo symbolizes Romeos
Anal departure. Such wondrously beautiful adagIo
s BeroZ's musical illustration the balcony scene
Df "Romoo and Juliet" As lor the scherzo ono can
not too much about Is. To obtain faint realiza-
tion Of its delicate music lie down day in
the grass in dolce far niene stylo and listen
tures orchestra Tho grasshopper, tho katydid, the
bee, the birds that chirp around such the originals
Of Berlozs .Queen Nab" Tho orchestra did full JUS
uce to the symphony.