New-York tribune., 1876-02-28
MUSIC AND THE DRAMA.
FOURTH sYNrH0NY CONCERT.

FOURTH sYNIHONY CONCERT.
The attendance at the fourth Symphony Con-
cert given by Theodore Thomas Saturday evening
stenway Hail. was quite full usual and the exten
sion room was thrown open to receive the overflow from
sAe man hall The following was the programme:
PABT
symphony in @ CBretkopf Hdrtel, No 1S. Haydn
M.HgettS AsSrsttS' Finale N 1s4 'gpilS dgIs2i
1. Allegro maestosO. 2 Andante.
5. Allegro Vivace assai.
Mr.. william Mason and orchestra. ,,.o.,,o,.or
Overture, "Corolsnus Ol 6l:
Suite No. @ in F. op. 19i new Ran
/. An der Grenzr-(Oy yerture).
2. Auf der PusztaC CIraumerei) ,,,.,
3 Bel enem Aulzug der Honved-tMarcm
4. Nolksed NIT NaTiHtiOnen
8. NOr der CZarda-(finaie)
Tho frst part Of this programme was delightful seiee
t,or of he nurest music sully arranged to show eac!
Of the three great classical masters Of the symphony III
hs own characteristic and at the same time 10
illustrate the gradual development OF the orcheS'r
under their influence Each wac represented by soou
speclnen of his work The Symphony never played De-
fore in Nsw.York except last sunmer Is IN aydhs
hest and in fertility OF melody freshness OF fancy
ami eegaucs OF construction Is not far surpassed oy any
thing in The long catalogue OF his writings Mosi OF Is
like gorined string quartet SYMPHONY reuu0eu " It's
simplest clements with the merely sensuOus euectS Oh
touecooring eliminated. II Is not n the rustic tro %
the third movement that the wind nstrum nts hitherto
kent strictly in the background begin to assert
that individuality which is strongly marked
I'm their treatment by modern composers But
~ Huydn's orchestra is meager by comparison
with the band OF our own day there Is no
lack of al ythng In Haydn's music. The modesty OF
the means of expression seems TO enhance the intrinsic
beauty of the thought and to fit the frank character
of those clear bright fascinating melodts with which
Eaydn and Mozart above all other composers, so charm
the world IL valuable purpose nisO in ensbihS
the unnsructed listener to discover at once tho whole
structure OF symphony, watch It's Development out
pf the chamber quartet and follow the delightful mOdu
lations there is return TO the principal theme IN the
latter mart OF the Finale which hardly I've admired too
much Ia the performance OF this work the perfect drill
of Thomass string band had an unusually g0od oppOrtu
nifty for display and not only was the execution igor
Ous polished and elegant In the mnutest particulars,
but the Interpretation thoroughly sympathetic and
even afeconate The Mozart Concerto THAT known as
No l in the Brekopf & Hartel editiOnl was
written while Haydn IN tho plenituoe OF his power
and activity Haydn and Mozart had great influence
each upon the other but however nearly the two com
positions played turday may coincide IN order OF
fme the concerto marks later stage than the sym
phony in the progress art The plan of the work Is
sssentIv that of the sonata as il was left by Haydn in
the treatment of the orchestra We find rchntsS Ct Coz
oring and originality OF combinations whcL belong I"
Mozart himself The themes indicate depth OF poetic
feeling in which Mozart has been cxceod except
by Beethoven and the Andane Of the most raysh
taultless Mr. Mason, who has long been stranger to
the esncert.room played with all his old beauty OF
touch and precise accuracy. nrodueng ReneekeS TWO
cadcnzas end was recalled with much healticss tiat
be resumed his at the pano and delicate Ber
ceuse Of his own. The great "CoriOlanus" overture
brings us TO tie climax Of the emotional tendency in III
strumeutal music exhibits the forms devised by ydn
and Mozart filed out TO their full capacity, and discovers
substantially world OF art in the adaptation oi the
overture to the purpose of poetic expression In this
work the orchestra Saturday achieved a triumph
which We have rarely known them TO equal
In the second part OF the concert left the clear at
mosphere OF pure unadulterated music and came down
10 the level of the EARTH Raft has diligently studied the
great masters and caught great deal OF their spirit BAT
h his best productions the art Is sometimes aoyed Win
effects which may b. Legitimate and are GER
tanly interesting illustrations OF what the MOD
ern band accomplish. but which nevertheless
must be called sensational There e1travassnccs
however 70 De deprecated III his Suite after the
Hungarian Manner" Beautiful and really poetic pas
lages abound in every movements and the whole WORK
l. strong spirited, and ior Ra unusually compact lie
has a title for each movement suggesting the scenes
present to his mind rather than attempting to describe
them The Overture opening with rich martial sitaln'
1, called "On the Frontier" the Trumerei in which
sort Of pastoral strain aternates euriousy win tho
phrases Of conventional but beautiful revey is Icmi
hscence OF the Of Hungary er open plain coun-
fry peopled by shepherds and herders the stirring RAPID
March inspired by review Of the Honved e. defenders
Of the cOuntry whose galantry made the name 70 IL
nous In 4e; then follows the popular song with III
genous variatons and the work closes with an Ilustra
ton OF peasants ittng Before the Inn. listening 10
the performance OF their national dances ana
songs by band OF RyYsiCs This 10 the
most brilliant and effective part of tho com
position The movement begins with slow passag'.
typical we suppose of the characterstically meanghCy
side OF the Hungarian temperament to ths succeeds
sorgeOusly scored natonal air then the hilarious meas
urea Of the dance are heard AMI the finale s reached in
an exciting Presto in which probably to recognize
The earGns which is OF the most peculiar OF tLs
Aaonal dances The Suite played with great gusto.
md received with favor.