New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1888-12-09
MUSIC.

CONCERT OF THE PHILHARMONIC SOCIETY.
Two interesting novelties. both vocal and both
French, introduced al the second concert OF the
Philharmonic Society, which took place in the Metro
politan Opera House last night They were excerpts
from Of the most serious efforts I'm the line q
grand opera which the recent history Of the French
stage has to show Ernest Reyers "sigurd' and Ma
senet's Herodade7 and the fact that they occupied
places in the Philharmonic scheme due Maiams
Fursch Nadis the composers and their
works. When, in July, 1e64, Reyer's slgud' vss
brought forward In Italian version in London Mad
anne Fursch Madi sanS the part Of Iiilda,' a. no
Brynhild Of the Iceandc sagas and the Bruennhds
OF the Nibelungenlied is called In operate Italian.
Since Madame Fursch Nad has boen in NewYork she
has imbibed a taste for music Of the heroic mould.
and It was but natural that living In an atmosphere
saturated with Nbeung music she should have felt
desire 10 acquaint the people Of NegYOrk with
portion of Frnchman's setting q
the same poetic material. For Massene's
Hcrodadc7 she Lad already done a similar
service, and the splendid afr from that opera, -
ginning Celu don't la parole crace tOuies penes.'
Is now recognized favorite in concert rooms
Carrying out her plan. she last summer secured from
NM Rcyer and Massenet the two concert arrange
ments which she sang last night and by most artistic
performance Of them albeit one that was made ex-
cecdnrly difficult by hoarseness that compelled her
TO beg thc udulr Of her hearers she did her best
10 win for them the favor Of the most cultured portion
of cur musical public.
NJ Bcyci's sigurd7 deals with that portion OF the
story OF sicgfried which Wagner has woven into the
last two dramas of his Nbelung cycle. From {.
best evidence obtainable the French book by MN
Camille du Locle and Alfred Blau Is nothing better
than the ordinary opera lbrett0. The scene which
Madame Fuisch-Madi sang that fol-
loving the awak 'nng Of Brynhild. In wsgners
poem the words put into the mouth of Brlennhide
IN the corresponding scene are mag IA ent APOSTOLIC
TO the sun and nature generally. the German poet
having paraphrased tie speech Of the Vslkyr as the
sagas give IT, II would have been interesting hal
the Philharmonic annotator used some OF the space
on the programme which he devoted 10 neurological
data, set forth the text of the French scene, not
only to facilitate comparison which must have come
into many minds, but also 10 help an UNDERSTANDABLE
of Reyers music Plainly, II Is serious enorl 10
rise 10 the occasion, but We fear 10 must De set down
expressive but succeeds only I'M being bizarre and
fun Of Grass and Ineffective contrasts The greatest
dhlculiy with the music Is fundamental one-lt goes
To the ideas. Mr. keycr mes to be heroic while al
that he has TO utter are mcodic phrases OF the Kind
mat we md enlEently characteristic Of his comps
tnoIs when used I'm 0selr Sentimental ba.,ads, both
secular and religious. At the outset This meode
IN tie orchestra I'm search for striking color effects
Is used evidently 10 heghten the enc.
OF the pantommic play connected with The awakening
OF The vakyr; then It gathers Itself together
In ore OF those swelling instrumental songs when
tencamen handle so well and above this the af
D, becomes vocal however the sna
ni thr orchestra forces ltscli upon The atrnil"is
II all but falls TO stunning and accompaniment,
with as much dOcity the pmyerbial opefNl.
guitar. In the music of Masscnct q higher kind o,
inveniivoness and also a superior order Of teehned
shl IS noticeable, though IN the scene ARRANGED ~
Massenet by combining Two airs, one from the so-
pranos part and from the tenor'sl there IS no
approach to the splendid fire Of sslomes air ALREADY
referred 10, which, by the way, lends effective
phrase 10 the 'e3 So introduced last night
The Orchestra under Me- Thomas. PLAYED superbr
Schumann's Overture, hchcrZO. and Finale and
Rubinsten's ocean" symphony. the latter I'm rs
ORIGINAL FORM ths IS to say, without he added move
mcnts Mr.. Richard Arnold. principal violin OF the
band, PLAYED Spohrs eighth concerto for violin, he
familiar Sccna cant antcS which serves 10 BE- heard
occasionally, not only for the sake 81 It's musical
beauty but also illustration IT tho usoessnes
of words under the old scheme OF composition In Italy
MIR, Arnold played with honest care good taste Sqd
real brillancy especially I'm the finale notwhsi sndng
that he oppressed by tho fact that his father.
musician well known In the PROBES died but three
DAYS ago