New-York tribune., 1884-11-16
MUSIC-THE DRAMA.
rup puuUARMoNIC SOCIETY.

<~o novelties OF dgnihed proportions in |" -
tar,s orchestral pieces. besides permitting '"o
enr,,cr of ntroduee to us an
stossous vocal composition of the modern one ~
:, .s,ercs however 10 the custom Of givins "',o -
pse,ho,ens symphonies and 80 gave pieasu ,,dern
cru, the unreasoning advocates of the -, an fact,
~r>,,eucy IN musical composition fo' nrcscnted
INV was little comfort. Tor tne "o III stout ad-
,rcvs the products OF Brahms ana DNoi' -, ,eauty
-. =, ,h. cupse of absolute or io''iA' 49,, a.
: .,,...s ,ynm the Characteristic pe"'' - a.,
h.,s 70 sc the vital principle oil Lis1' M - mn a. fol
....r,meotal writing The scheme ""' ""'N
lows: oo Brahms
symphOny no a@asSc %ssST Sr - op Rubinsten
eSsn1 ed sria' Nine FurSch- Msdi ,.,,,
r-xmatic Overture, iiusItsKa --'-'--''' Massenet
Ronance from " heTDi,"qE9 ,Tma E,r.cb- -Nadi.
a,,nphony No. :, A major. Op w 2-..--.-..
"a .vmnbony and overture had their first perform
.,e IN this country october 20 Mt the hfs' u WI
Va, der stncken's Novelty Concerts The nanu on tn
s,rsson was admirable in composition ana 'no DC"
s.,,rc,or,s reading was intelligent, lucid and psniy
.s,ra by an enthusiastic appreciation OF the merits VI
49,. uorxs Thanks 70 this preliminary hearing there
-. ran, IN the audience which crowded the Academy
,.s. night and at the preliminary pubic rehelrs '
v,.aay afternoon ripe for the lofv e'uus '"o"'
,x.,rh these works afforded Philharmonic audience
-, No, e,ponstrative but they paid both WORKS the
tr,hute of concentrated attention aud NEED OF ap'so
h-h indicated thst the incorporation OF the wofAs wy"
,s active lat of the society will be greeted WIN uens'
M recent musical work has atrseted 80 mneh "''en
t,un and AT the same time called out so innch eohtr
rsy criticism n this latest symphony oBrahmss Inc
.s n ,ht rp,ruos,r aud hc stherents Of the aftsur
,rra.net which Ne represents have iauoed u 10 tn'
49, ,bs ,,ps, enthusiastic among them foowins bt
ta.o,.t 40 Vienna ~ placing above s two pftneces
.,a ,ts, thp siins pan inas'nreh ne THESE shme en
,,,s,ss had en the appearance nf the hist Fmphoh'
~ PfahHs. sifi,ishtwaF dnhhrt " the ie""
,.a,e.,e ,sss ~ pa,ns N nn4,l srtression win
t.stssTtas isss.grss niue, this was w
,,e,gse psase ~ sreh tttsatarsht rt
s..p,lss ,ss, i, .eat ~, " ases' iis tra ''itt'
Ns.eVsF lhe ssiseasss 'a-I hias 70 w - 70 tpt ea'
u oeyislaf 10 Rat nseessaff taf ihe "i'
1aiiiias ai the iame ei bsahhs 'ha'
ans heagual fabTies ~ sehnheFt he"aais'ehN' "NH
aiiy schamanR, shouid be toFn down II Ha4 pc
necessary Tor the Justification ef iAs@is sl"i'h"""
Pssls CRY oui that the last symphone Noa "a' w
tered by Beethoven although We do moi INNS SO 'e
,.iny is mol necessary for the justification Of tho sym
,honies OF Brahms Fortunately too, all snch CRY hs
does no harm: 1t does change the nature 0i the
mediums through which beauty IN music Is appreh'h"el
aud 50 long as the symphonic form can he mahe 10y
sepins vehicle OF the beautiful so long VIII the "orh
OF these epigoaoi of Beethoven be listened TO win
Measure There is enough 10 satisfy normal craVhI
f,r nrooress In the notifications in treatment which
spng from the artistic individuality of the conposor
and do not destroy the time and geniushonored sruc-
ture.
so much to fix the point of view from which we think
;he new symphony should be looked at Despite
fugitive "reminiscences OF Herr Brahms's 70
mantle predecessors there certainly enough fresh
ness Of treatment in this symphony 10 cnlIe II 20
be called original work. Musicians must have noticed
one element OF originality in the unusually important
role which the three chords that I'LL their purpose o
commanding attention admirably at the very outset
ARE made to play throughout the entire first movement
In spite of the breadth and gor OF the principal subject
and the rustic beauty Of the second given out by the
soft woodwndS these chords really dominate
the movement Other features OF treat
,nent are quite marked; it Is
only the meOdc material which Is open 10 the CRITICISM
OF want OF vigorous newness But in music as wen a.
sb literature the style is the man., and the style OF
this symphony is Brahms and none other This style
marks the general spirit of the piece well As the de-
tails OF its workmanship The heroic breadth ana s"lDg
OF the two Aaegos the inspiration OF their andacous
hsrmonies and rhythms. the unfaltering manner In
which moods Of the piece are sustained-thess are
the evidences OF the unique creative power which
halongs Brahms. Another sign oil MS authorshP'
bat external than these IS the substitution OF
AHegretO for the scherzo OF the accepted form upon
this however STRESS, for though this is the
third time that he has tried the experiment not
convinced in this instance the substitution has
worked for good The piece Is east IN her0c molu'
have continued s tale of chivairy better than the
preseHt third movement. wticn can now OILY ne CON
sl~red brief resting place for tne mni WhlcD mas Deoh
carried along In such tumnitnOus fashion by the nrrt
movement. Besides the advantage OF con rast when
prornpted the introduction 81 the minuet into tie
fympnOny is lost IN great measure by having Two snort
middle movements ieari alike In time Both are
beautiful however, and the criticism is one OF taste
raiher riucpie. Counting the -pu 'ic re-
bearsals hich preceded the the symphony hss
nov heard times 10 has grown IN beauty and
ernncance with each hearing. ana the MAGNIFICENT man
ner OF the per baBshed the last question rs
10 validity of its title the designation Oi great
work. lOf ness abOu. II Vhcn y inspiring lie
pn-tcal spirit has flavor of drnss meanness; s
evenlv sustained IA remarkable; s display ." the
teohura resources of Its composer is so great a. 20
coursl even greater admiration than have heretofore
expressed; il is the be-t eNamI o. recent years OF
tine Imagination working hand In hand Will di~crmi-
naiing Judgment and pro Ouud learning Ne are con-
fqm our imprpssi that the work Is al least the
peer a. The COMPOSERS symphony In minor and
composition which does honor To the creative skill 0i to
dav.
Dvorak's picturesque overt also hears repetition
With amazing good There IA a tendency III II
might be deemed troesque II were not that u J.
The of tine National spirit which u vas written
10 commemorate. But It's viydness the sonOrty of It's
Instrumental effects and the exciting character % It's
rhytbns Tea which give pleasure 20 it, heaters
Like the mphDnies u al ed with marvellous
fre and precision great luyelness OI tunelua1tY and
deep devotion to Che pOetical aims OF the composers
hes the hHoyant elasticity which -a Characteristic
the PLAYING ot the Philharmonic sorety under Mr.
Thomas been observable than last night Mue
purScl Nadi mefited praise for the hnc intelti
eenee and dramatic INTENSITY which rerVadd her slug
iry IN both the nnihers n IA only tO w regretted that
the iue alrs nt and quality va her voice were
ieslelied hy more tbnruHsh training.