New-York tribune., 1881-11-20
MUSIC AND THE DRAMA.
BRooKIYN PHILHARMONIC SOCIETY.

terized the Brooklyn philharmonic Society IN the
mast were manifested again in the opening ot the
twenty-fourth season, which took place IN the
Academy of Music last night Mr.. Thomas
and an admirable band, which seemed
particularly sonorous and effective in the strings
had the assistance of two solo performers, Madame
Madeleine Schiller and Signor Campanini. The
combination was a strong one and made possible
programme which was full of pleasing features.
I hese were the pieces
symphony l. fat No 3..........-..... Beethoven
sgnor Cainpanlni
Overture, Academic Festival, opus 50 ,.BrahIns
Fantasia T@Ga4ne Sf@Gs Nadcciac Schiller.
Romance IJnter bIiihnden Mandelbaumen. Weber
Signor Campanini ,,.,
Ballet music, " Nero '..................Hunhhlcih
This scheme was happily designed. The lie roic
SYMPHONY. with its two movements full OF life ana
brightness was in beautiful harmony with the rest
of the instrumental music; while in its preg-
nont first movement and the funeral march
which follows it there was an appropriate recog-
milton of the national sorrow over tho death
of President Garfield, although the reason
for the selection was not mentioned. The sym
phony received notable performance. dlstin-
guished by the traits which have 80 fire.
Guently been commented upon in reviews
of concerts conducted by MIR. Thomas. All
that that eminent leaders reverence for
chestra forces and his appreciation of intrinsic
beanty of sound, could do to present the symphony
in its full loveliness and grandeur was done, and
The men responded to the leaders in
spiration with more than ordinary prompt
ness and refinement of expression. The crispness
and clearness of the strings which gave the
variations of the last movement so great tascina-
ton gave also the beginning of the new overture
by Brahms an effectiveness which former perform
ance did not reveal The great breadth and nobility
of tone of the maSSed strings apparent in the
funeral march, and again in the ballet music.
The Academic Festival Overture of Brahms has
been several times performed here since the begin
ming of the musical season. 1t bears repetition well,
and while its character suggests simplicity ofthought
and Transparency of treatment the increased pleas
ure which the last hearing afforded shows that its
beauties have not yet all been disclosed 1t is, per
haps unfortunate for both this overture and the
Tragic one which was played at the first concert of
the New-YOrk Philharmonic Society, that they
were gwen to the world simultaneously. The deSig
nation of the Tragic led the critics to infer
that the Academic overture was comic IL 1t Is 80 1t
is in the sense of the classic distinction winch
did not shut cut seriousness of sentiment and
real depth of pathos. Both Of these elements are
certainly present in the lighter work, which pos
sosses besides as beautiful symmetry ard as dig
nfed and scholarly a style as its companion.
There is not a tinge of vulgarity in it's of the
German students songs in place of origi-
nal themes. To Brahms himself and TO the
alumni of the University of B. eslau no
doubt the choice of these melodies gave serious
ne s TO The work which intelligent listeners would
only be little slower in recognizing The sustained
melody which is utouc1 with such beautiful
imprcssveness by the tromboucs after the original
introduction tat the University il is sung to words
beginning "Wir hatten gebauet Elm stattliches
Haus," hut it is known throughout Germany as
patriotic fok-song) is sung only once year at the
students Commerce" and then il is attended
bv solemn ceremonies very different from the
pranks which are played upon the poor freshmen,
during the singing of the "Fuch7lied,' The man
ner in which this famous little melody is handled in
the overture by the way, tends 10 disprove a good
deal of what has been said about Brahms's lack Of
humor. Nothing could be drollcr than the
bqssoons at this place ard the pizzicato accompani-
ment of the low strings. He has brilliantly
maintained the reputation of the bas'oon as
the rarest hnmorist among musical instruments
which Beethoven established for it IN the
Scherz0 of the Sixth Symphony. The
two Overtures ought not 10 be contraStcd.
for they both demonstrate their compo-er's
genius and skill and the Tragic especially illustrates
again the keenness of Schumann'5 insight when he
hailed young Brahms as a pioneer in new paths
The other novelty OF the evening was the ballet
music from Rubnstein5 opera Nero.' 1t has
half savage energy which must make il
very effective when joined to appropriate scenery
and action. but those who have formed their c,ti
mate (which must be a high one of Rubnsteins
skill in this kind of writing from the exquisite Fer
amors music will look in vain in the newer music
for the luxuTiance of melody, the gOrgeOusness of
national color and the beauty of pOetcal sentiment
which were inspired by the Oriental imagery that
RubEstein found in the FeramOrs episode in
L ala Rookh."
The Schubert Fantasia in the symphonic trans
criptlOn for panoforte and orchestra made
by Liszt received a sympathetic and
intelligent reading Madame Schiller and Mr.
Thomas were in perfect accord, and the result was
homogeneous performance that lifted the beautiful
composition high in the appreciation of the
audience. Madame Schiller's clean cut
rhythms were admirably echoed by tho band
under Mr.. Thomas's decisive beat and his vigorous
touch kept her abreast of the army of musicians in
their liveest charges Her taseiuness in expression
and repOseful manner were most apparent in the
slow movement in which Schubert has used phrase
from his song Der Wanderer," written
four years before the Fantasia. IL is
little singular that this gifted composer,
whose flow OF melody never had parallel except,
perhaps, in Mozart, should have made such frequent
use OF TINS DEVICE SlgnOr CaInpanlnl sang
the Mozart airs which he gave at the
first concert of the symphony Society, and the
romance from "Euryanthe" I'll mo tcsoro"
was the set piece and on recall
he sang "Dalla sua pace"' which, like the
first, is from Don Giovanni. Though his
singing seemed to give great pleasure To his hearers
(he has it his beautiful voice always 10
compel admiratonl, the style i'll which
ne sang Mozart's music was not dignfed.
His love for sensationaIsm ineXcusable in ar
tst of his gifts and attanments led him to alter
Mozarts music; his changes gave hlm high notes.
but added no charm to Mozart.
THE WANDERING STARS
Mary Ander on uasscs this week in philadelnbio