New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1877-02-05
MUSIC AND THE DRAMA.
FOURTH SYMPHONY CONCERT.

FOURTH SYMPHONY CONCERT,
The Symphony Concert on Saturday evening
was of the finest Thomas has given. and the
audience of the best collected at seinway
Hail. Programme and performance were both exception
ally magnificent. The selections the following;
PARTL
Overture Air Gavotte BoIrree Clique.
Symphony in F. No. Pastoral $500. Beethoven
PART II.
sslccfreds Death G5t,erdammeruns" Wagner
There is no slight art in the composition Of a pro-
gamme like this, consisting entirely OF masterpieces
illustrating the strongest possible contrasts of STYLE
ranging from the very beginning Of modern orchestral
music to its latest expression. and yet placed that
each piece hghtcns the effect Of the Others and the IN
terest Of the listener is not only sustained but continually
stimulated Part of the great secret OF this varied but
symmetrical programme the choice OF the Pastoral
symphony for the second place We do not think OF any
other which would have followed Bach so appr0pr
aely continuing the cheerful spirit of the suite and yet
not dwarfug 1t in recollections is there sym
phony Beethovens which would have interfered so
little with the after enjoyment Of Wagner Anything IN
Beethovens grander and mysterious mood Ike the
symphony in c minor for instance would have spoiled
our relish both for what had before and for what
was 10 after
The suite in D is no doubt the most perfect OF Bachs
three orchestral works in this form. Like many OF his
compositions. il leaves upon the mind feeling not only
OF pleasure but OF complete nallsdclOu II uoto h"t
seem as il it would been possible for Bach himself
or for all the great composers who followed him. TO add
single phrase TO the development OF its eEqulsIey
rounded thoughts The elaborate ntrcacy OF the coun-
terpon and the simplicity of the INSTRUMENTATION
supplement other and together fill the measure OF
the listeners It is true that Bachs orchestral
scores almost always require some modification before
they can be properly played by modern Instruments and
MeudcssOhn trumpet parts for this suite beside
clarinet part the last movement; but the additions
were made with discreet and revereniia hand' only
warming the color little without disturbing the texture
The Instrumentation remains open that every detail
OF the performance lies exposed to notice and the most
absolute precision and decacy required from every
man in ;he orchestra In such work the unappT0achaDe
excellence Of Mr. ThOmas's band IL especially conSpcu
OILS To call The execution faultless sounds ike mere
rhetorical exagceration but really know not W hat
else TO say Of it, The Suite its complete form as we
had il on saturday night has not been played here ne
fore eycept AZ the Garden Concerts in the summer o.
1879; but Mr. Thomas made the first three mo- eIheH'S
familiar to us several years ago.
IA for the Pastoral symphony. despair OF making
ANYBODY who was not az the concert understand how
wonderfully well Il was rendered. All those fine nnAnces
in which II a5ounds all those nectiug Of expires
sion aud subtle differences Of sentiment which dStn
g1lish from every other symphony were marked WIN
the fondest and the keencst Intelligence Nor was
there this poetic Interpretation trace o. sentimental
ISM Thomas always takes Beethoven in healthy ana
masculine spirit so that The vgor and proper places
the fire OF the performance notable as its refine
uent The storm movement in particular was superb
Dut indeed the whole performance was marvel o.
strong feeling and technical Fl ish.
The selection from the GJtt erGdmmerung had evil
IDENTIFY been awaited with considerable curiosity II
FIRMS the last scene Of tie Bayreuh Troey, and
narizps y we may use the expression. the leading ideas
OF all the four divisions of the drama, so that On reaching
the climax Of the work most Of what mas gone
before and as the different leading motives are com
bined and worked in this finale we are reminded 81
the influence which the actions and passions represented
by them nave had upon closing catastrophe Hence
s We EXPLAINED the other day this selection cannot oe
fully understood without knowledge OF the Whole
Nbeuncou drama. In its proper place AT the en-" o. inc
four days performance il not merely one OF e OS'
excitlngpitces of music ever written bu II was rnrh
bile for lis dramatic clearress. II we cannot nave il
under the best conditions. however, let be gIa'eiu
that we have it IS well done II be ~ ~" concert
ROOM No intelligent lover OF music could long remain
insensibc of its grandeur and beauty. The Funeral
March, which begins the selection Is already accepted -
one Of the greatest penned, and the long sctna IL
which B.iinnhllde utters her death-sOng can haTGl
fail 10 touch and rouse any sympathetic listener.
II runs through the whole gannt OF passion
from the gentlest pathos unearthy cXutaon ana
AT the close il by gradually increasing intensity
one OF those tremendous outhurss Of emotion for which
the music Of Wagner Is entirely unequaled. The vocal
part Of this extraordinary scene WAS given b. Madame
Pappenheim with force and feeling which mast have
surprised even her warmest admirers We know OF no
singer in America who could have given It 50 well; We
doubr whether there are many IN Europe who would
have given il better with the sole exception OF The Ideal
Briinuhilde Frau Materna. About the performance o.
the instrumental part we speak with No reserve
whatever II mas been surpassed. nos even by TIE
model orchestra Of virtuosi collected last summer al
Bavrenth To hear such playing would nave been Il
delight even hal The music been ncOmprchensinc The
reot merit OF Thomas'- work IL marking the shifting
emotions Of the poem by ponding variations az
light and shade orchestra changes Of coiorng Of
RHYTHM and tempo and the accentnG now OF one class
or roup OF instruments Of another, according to the
spirit that governs the moment could readily De a
rrecated by ANYBODY who listened 10 tl' music Few
perhaps understood what remarkable technical licue'
also hadto be overcome, especially IN The coucui.nS
measures where a'ter BrnIhde has flashed her sons
AMPLITUDE of DelodoCs phrases are gthere and woven
Together IN the glowing finale. each leading motive
returning with It's proper rhythm Here not OiV Is the
heat continually and suddenly changing, bat Two distinct
SORTS of time arr carried simultaneously, the melody
Of the Daughters ines rnvthm, underlying other
motives which vary pcrpetuay both III character ana
measure The cearness and apparent case with when
Tins obscure part Of the mIsic was performed r'erted
tbc highest credit 1pon the conductor and MS men.
TIE PRESS CLUB.
The literary and musical entertainment TO be