New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1884-03-16
MUSIC-ART.
THE PHILHARMONIC SOCIETY

THE PHILHARMONIC SOCIETY.
Faultfnding with the programmes of the PhiIba,
monio Society was estopped by the selection a
these works for the fifth concert, which took place
at the Academy Of Music last night:
Concerto tor panoorte No T. in b minor Mo,ss
| Mr.. Rafael Josefy.
Symphony No Q, IN C......... schumsnn
| Here were loveliness and strength cOmbned-ths
symphony, Of which Schubert, with almost pardon
able sentimentality said could hear the angels
singing In it, and which Beethoven loved we'll
enough to copy; one OF the most thrilling and eff
fective pianoforte cODcertos ever written and to
crown all, one of the best Of tho numerous post
Beethoven symphonies Gracefuness Of sentiment
alternated with ImpetuOus and forcefu yigor IN tho
scheme and there could not be a single duh
ment in Philharmonic performance devoted to it,
Interpretation.
The minor symphony has been played so fro
quently by this band that it would not be at all
surprising some day to see the musicians discard
the printed pages and play it from memory. As 1t
is, they so little hampered by the mechanical
part of the performance that they throw off tho
music with a freedom and fire that is felt as much
in the increased volume and quality of the tone as
in the heightened brlliancy of the execution. In tho
matter of precision and unity Of feeling nothing can
be imagined more perfect than performance by tho
Philharmonic Society of any of the three great
Mozart symphonies. The Schumann work, making
a more comprehensive appeal to thought and feel
ing than the first, worthy cOmpaniOn-piecs.
and brought into bright relief the manifold re-
sources of the band in respect TO tona color, dy-
namlcs and frmness. No rhythmical intricscy can
unhOrse such admirably trained riders
pianist who lives in the applause Of the multi
tude is hardly to be blamed for selecting Rubin
stems fourth concerto for performance even though
he knows that ITS most persistent demands are
made upon those qualities which VIGOROUSLY
absent from his equipment. His concern Is the
personal triumph of the moment not the worthy in
depreciation of the product of anOthers genins
Given an adequate degree Of dexterity in manipu-
latOn and he cannot fail to challenge applause
from the public with the music which RubInstcln
has put into the concerto II is marYellOusly bril-
liant 50 rich In noble melody, so full of the spirit
which makes the panofortc the chief OF all musical
instruments for improvisation, so happy IN
those quick alterations of sharply contrasted
moods and the surprises which carry an audience
on from pleasure to pleasure without giving either
time INCLINATION TO sit ~ aesthetic Judgment.
Mr. JOo-ty has technical skill in an extraordinary
degree; but he has no voice for passionate
expression. With expenditure of am
pic force in the blow he cam
not get out Of his instrument the fullness and mag
nlicence Of tone which Is the nrSt requisite IN rms
concerto. and the result is that in all the cllmaXes
he practically drops out Of the performance. 1t
would not do 10 tame the Titanic element M the or
cncSJrat part 70 MAKE IL go WIN Hceh uocHl,4 70
side the piaHOlOrte part and 50, even with Mr.
ThOmass always considerable direction, The solo m
strument was frequently swallowed up last night.
The absence Of dignted singing tone IN Mr. Jo-
seifys playing has 50 often been mentioned that IL
unnecessary do than to refer To II now AZ
an explanation OF the loss, especially in he second
movement of the concerto, of characteristic feature
Mechanically Mr. Josrily's performance va, be-
wildering display Of those traits N which he
excels and to exhibit which he makes al compost
tions serve. His playing left 40 sluggish blood IN
the Academy and its reception was the occasion "
such demonstration as seldom occurs more than
once i'll q Philharmonic season.