New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-11-12
MUSlC AND DRAMA.

sba audience spirit among the perIolinoi'' "e
.nGcie,cy in the band, which. in the reaoJ VI
,,rchestr,s that has taken place this autumn, u'S
or,rossol nearly all the very good ma'eil" 70 '"0
city. The programme of last night ""' "''
cuished cor brliancy and variety c,,ror
symphs93yTy and Ara. mia speranza adorata Mozart
Miss Emma Thursoy Wagner
VOrspiel. "Parsiial .---.------''-'-'-' ... List
eoNs Miss Emma Thursoy peotboven
c-r,nbonV i'm A. No. 7.--...-....- --.-..---''-.'
A. Cowen ls a native of the Island OF Jai"ai''
.nd on alumnus of the cOnservatories oil le'psio
ond Bcrln Though still quite young-he Is IL IL
.h,r,,- first year-he has been an lhduSU'lV"'
suoce.sf,il composer, having written eau
che English festivals. an opera Tor Carl hO'' -
III "a xarions other music This Is ms 'hIu
svn,nbopv 1t ought to assure MS postum, =" ~
tro,t rank of the contemporary
school even IL il do not vindicate MS IS",
sill bigher place for it shows ylgor me Noi
shin and fresh ideas. Although 1t appears IN -
title 70 belong 10 the class of descriptive mus,
: entirely free from the extravagances ana S'r'e
ELECTS into which the followers OF the pro- af
stvle are ant TO be betrayed INC N", IT,
S1o-s;,o,ianr which Mr.. Cowen appIe'
- indicates only the character Oh INC
-. ond although there are cer'aih
sa,';oas in the second and third movements
t+b distinctly picturesque Object they are Nv
tbeless unsteady legitimate lie opening Va
srst movement allegro moderate ma con mo'o'' WIN
.; str,kine use of the reeds. incllnes us 10 eAl''
or,atbuo in the MendclSs0hn MANNER pu' NAV
delnsion does not last long and by inc 'I'n' we
och the broad and beautiful second SUBJECT We Ieoi
on;te sure that Mr.. COwen is NOBODY ecHo' Inv
Eminent here is principally by means OF dialogue
With some charming contrasts OF tone ana expires
,;oD esnecially happy is the interchange OF the
- between the violins and the viOlas and &C.
-. the subsequent development and combination
90 The two principal subjects Is ingenlously
,oonog.d. and the working up OF the close oil
.bo movement is admirable. Ii Is ap-
,,oront that Mr. Cowen knows how to write as wen
a. that he has something to say. The extent Oh MS
scholarship is indicated by the solldity OF ms score;
&c coupact and well baanced the coloring Is rot
lrflaut but 1t is harmonious ard refined; nstead
If trusting to sensational combinations ne relies
principally upon the strings, which give suDslah-
Icbaracter to the music not to be obtained III
env other way. The second movement Iadaglo con
r,oto, j. marked on the score . A summer Evening
ON the Ford legend which perhaps sufficiently
indicotes the soft and dreamy spirit Of its melody
ond tbe delicate quality of the instrument
+atiop. An exceedingly pretty effect Is
,,oducsd by quartette of horns placed
ont of sight behind the orchestra, VITA ac-
commandment Of harp arpergios. The quar'ette Is
repeaied at a still greater distance and dleN away
IN an echo Nothing could have been inner than
Thomas execution of this passage. Inc thIId
movement lscherzOl is not explained on the score
Int we have seen il referred tO-We know hot
upon what authOTty-aS suggestion OF
q sleigh-journey. 1t requires no great suetch !
of fancy 10 hear in the quick rhythmic |
movement the beat OF flying h00is ana |
the ring Of the frozen snow; the faint sound of
I'LL 10 us
however this may be Nh Cowen has written a beau !
1iful and brilliant scherzo, again showing his good
iudgmeut and seif-conhdence by giving the !
hest work to the strings, and avoiding |
the ostentatlons use which 4 man of smaller talent !
would have been sure to make of the triangle. Ii |
is no slight praise to say that the last movement |
(allegro ma non trOppol shows no failing OF /
either in animation or construction. 1t Is on the |
contrary the strongest, most masculine part or the
symphony, and il eliminates in a mastery finale. !
The whole work received most sympathetic inter- |
probation. dainty in the adago and scherzo annnat-
ed in the two allegros; and the applause showed
that if was keeny relished by the audience.
Miss Tbursby exhibited her pure and brilliant ex-
ecutiop in the bravura air which Mozart wrote for
his sister-n-aw. Aloysia Weber, singer whom our
vounc American vocalist must somewhat resemble
in style and in LISTS Loreiey' surely one OF the
most beautiful of all songs she displayed accom-
plsbmeuts still more valuable than the
facility IN staccatO runs and other embelhsh-
ments: for she sang with true and delicate senu-
1nent As well as a finish which lift nothing to De
desired and she was recalled again and again al |
terward with unusual demonstr tlous. she must
have had little sensibihty indeed If she had MOI |
been inspired by one of the most cXqusitely poelcai
orchestral Accomplishments 1t was ever the good !
fortune of a young lady to sing 10.
The Vorspiel TO ''Parsifal' some respect bet
Ter fitted Tor concert use than either of the other
selections we have heard this season, but like the
Others it can only be appreciated by audience in
q proper frame Of mind. "Par$fal is III fact re-
Igous mystery and Of it therefore is likely TO
be as popular in the concert room the
music of the "Nibelungen Ring" or the
" Melstersinger" The NoIspiel however, a. an i'll
PRODUCTION to the sacred drama. IS a magnificent
piece Of work. 1t is wholly occupied in setting
forth the three principal themes upon which the
drama /, built namely. the Love Feast Motive, the
Grail Motive, and the Faith Motive--and
this done it ends without what Is called
climax leaving the listener IN
state OF solemn expectation "a very
proper mood for the lifting Of the curtain. The |
points which struck us most forclbly last night, |
apart from the imposing so.emnty of the themes,
the ingenuity of the Instrumentation, the ex-
uaOIdlnary accuracy Ui dgnel SENSE OF Color, !
and the holiness of tie harmony There is one |
passage in particular IN which the breadth OF tone
ald richness Of harmony combine 10 produce |
stupendOus effect it is where the Faith Motive is
first gwen out, with full ycIce by the tumpets and
Trombone and lie key suddenly changes from G
fat to major. OF course an .nharmonc change
&c fiat 70 + sharp is presupposed in this leap but
the effect Of the transition is nevertheless Almost
startling ltwoud be impossible to overprase the
performance of this exactug work last night. The
music Is more difficult than "a casual listener would
suppose the contour of the melCdic fguIe IS often
obscure and the rhythm g easily missed while tho