The sun. [volume] (New York [N.Y.]) 1833-1916, 1884-04-06
lNUsEMENTa
TIE fy~phony soeiety. Co.eers.

TIE bynph ony society's Coueert.
The programme for tho sixth rehearsal
and concert Of this society was the most varied
and interesting presented this season. II
opened with the overture. soherzo. and
finale OF Schumann. work which Is
In all but name. short symphony.
and which has ALMOST the interest OF q
novelty. itisso long since it was last given here
This was followed BY the Raff piano concerto
which closed tho first part. The second part
consisted Of tho Beethoven string quartet In Q
sharp minor orchcstrated by Herr Karl Muel-
er.Borghaus. and the Entrance Of tho Gods
into Wnlhal." from Waencr's Rheingold."
The Schumann number was not very we'll
played. II seemed to have been insufilciently
rehearsed, q TACT probably due to the enormous
amount q work necessary to tho getting uI OF
orchestra showed want Of precision, and
seemed to be but i'll acquainted with DIR. DAM
Int morI sc ns
drswbncnks; and made 4 pleasant to hear. A.,
York public new pianist in the person OF Herr
Ssrl rasen dssign9tSSd on the prpgramme az
wore aso great Mss.
Or; Damroseh In bis conducting, followed him
well enough but tho players seemed OCCUPIED
and poetic sentiment we're. in their part Of the
performance Of this composition. chiefly re-
Herr Faeltsn proved Ii imself a. pianist OF the
ness and e Iust and Individual conception Of
II tSe Academy Of Music. always a9 untsyora:
played with only moderate power. Or
BUT the syy,es. Is was Ss
tone resulted in sharpness and thinness.
The exquisite second movement 81 this con:
sa He w wa
sS%SnSIsd shs ssSssr;s x!sh SssR!$: Bs
cement nv %ss s ri with
az E xs 70 q
moyements q the arms and hands are apt 70
sonal psculiarties Of the player.
spirit and visor. small choir Of OF voices b.. b..
tiops quite neatly. for which they deserve
The great work Of the concert was OF course
ton OF tho Beethoven quartet. Those Euro
pean journals which have claimed for this
transSription the title Of "a tenth Beethoven
wonder to every one familiar with this
with such restricted means to give utterance
to forms and ideas far beyond the capacity Of
any four pIayGrs No periormanSes Of this
TO- musician a satisfaction equal TO that of q
silent reading Of the score: SO many things
Witch % maR as cesr
ss ssss Il he Tsst Jsss s: ssss
Mueller BerRhaus. The thoughts were in the
original work but the means used to give them
we're and utterly asasS way The he
RsinE Eov. only sSSs,s inssTSasssnts which
symphonies, and. for the most part in tho very
manner Of that master m ust cause every judi
DECISION Which enabed hi him sn 70 Resist
creased ,possibiliities. Of modern Instruments
conlne himself to those which the master him
sell would have used.
The m9yemsnts Of this composition. as di.
the orchestral score they are reduced to four.
by uniting the opening Adagio with TIE, sue
with the Andante and rdrioiions: and the short
Addaio which follows tho Presto. with the con-
beng in every as the natSre of an
Introduction TO that which succeeds II.
The reverent caro- with which the work has
mos. remarkable. Only once, in the last moys.
ment. has. anything been introduced which
cannot be found in the original srors: and that
is but three notes for the brass. 4 repeti.
ton OF u themo already frequently used
during running passage for the strings.
In every other case the quartet score
has been followed with scrupulous exactitude;
oven In places whers tho limitations OF string
quartet have left tho harmony u little more
open than 1t might be. nothing has been added.
The only cndeavor has been to unravsl to the
ear. as tho score does to the eye. tho themato
formation Of the composition: and to accen-
tuatesand make plain, by tho individually
and tone color. OF tho various orchestral
instruments. the development and working out
q these themes. And in this endeavor Herr
cessfu!. The w2nderiniIy. varied uses made oi
the themes and counter-themes by the great
master are made plain to every usical henrer;
yet in no case has the transcriber obtruded
them nnjustly or TO the disturbance OF tho gen
ernl perfect balance OF the work.
Considering the excessive difficulty OF the
work. owing principally to its innumernbIe
changes OF time and the frequent peculi liar uses
OF accent. tho performance given by DIR. Dam.
roschs orchestra must be considered q good
one. BY and by. when our orchestral plnysrs
have become as familiar with this M with tho
Ninth symphony. we may look for u better in
terpretatlon: but. as nrst production of an
exacting and com plicated composition. that OF
last night calls FOR great commentator.
The audience was. as usual at these concerts,
largo and very justly enthusiastic.
The New Play MT tho Flfth Aveuue.