New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-04-11

have had weight with honest ana pat1otlO CohV0V
gIver who wished to provide dignhed ana
varied entertainment, yet could not devote mohuiS
to the gathering and comparing of manuscripts ana
published scores from all parts OF the country
Even in matters pertaining TO art practical considera
tons have their weight.
Most OF the music was new to the New-York pubic,
though none OF the composers was stranger TO our
concert rooms. Only two Of the compositions nave
found their way into print, which fact, noted upon
the programme Is proof OF the dlscOuragesTnts and
difficulties which our composers are laboring under
and which must be removed before American COM
posers can enter into their estate among the conriDu-
tors to the higher pleasures Of the civilized world Inc
march which ushered IN the season OF Renaissance
and rejoicing was performed on this occasion for
the first time in orchestral garb. As nuptal march
for the organ it had found favor in the eyes OF Mr.
Samuel P. Warren, who had given his testimony in
its favor by including 1t In the programmes OF the
notable series OF organ concerts which he mas been
giving every winter for several years In Grace Church
It's composer Henry Holden Huss, ranks among the
youngest and most promising Of New-Yorks creative
musicians Though born in New-Jersey In 1862 he
has spent all his mature years in this city, save
those devoted study In the Conservatory at Munich
The same loftiness and seriousness Of aim which
The Tribune has praised In his chamber music and
choral works Is noticeable in the march, and
also the same harmonic richness and the modern
spirit On which musical progress depends.
show complacency with conventlonalty of thought or
expression. Swelling brilliant and rhythmically in
csve in its principal portion it has trio which shows
much gracefulness and suavity OF melodlo INVENTION
The second selection was an Adagio from the first
symphony of John Knowles Paine which was performed
here by Theodore ThOmass orchestra in February,
1876, but had been forced out Of mind by the sub
sequent and popular works Of the composer
Mr.. Paine since the year when his first symphony saw
the light has been professor of music at Harvard Uni
versity and from him for twenty years has gone out
the most potent influence that has inspired muslcsii
culture In New England. native of Maine The was
born in Portland January 0, 1880, he has spent
all his career except three years. when he studied in
Berlin, among the people Of New-Bngland, of whom
he is admirable type Though not an old man, he
is the Nestor among the native composers whose works
in the larger forms still command attention. The
vitality Of his influence is due to the fact that he has
never ceased to grow. The Adago performed last
night belongs to the period when he was still pas
sonatey devoted to classical ideals and FORMS II Is
chaste and elegant and exhibits perfect mastery OF
all the elements which enter into the classical STYLE
1t shows the composer employing profound scholar
ship and rare faculty of sef-crcism and restraint
under the domination Of the pre-Schumannian SYM
phOnists It's subjects lovely and fluent and ex-
pressive with the expressiveness of time when the
ideal OF absolute beauty invited the fancy OF creative
musicians. Its mood is characterized by moderation
II it does not reflect the Professor Paine Of to-day ii
Is only because the sympathetic heart and liberal mind
Of the composer could not withdraw themselves from
the influence Of the Romantic feeling which since his
early days has been steadily gaining the ascendancy
In the world Of music. In q second symphony, which
has been here under the direction of Mr. Thomas
as well as Mr.. Van der Stucken, he showed greater
sympathy with the modern tendency, and in the
splendid music which he composed for SOphocless
tragedy Oedpus Tyrannus" given at Cambridge in the
original Greek In May, 1884, he threw himself heart
and soul into the arms Of the Romantic Muse, but
without abiurng his allegiance to the principles OF
art which so far as we can see are eternal AT
present Professor Paine is engaged upon the compost
ton of grand opera, of whose book he is also the
author
piece Of music which frequent performance here
has made familiar was Mr.. Frank der Stucken's
Festival March," composed for the MaennergeSang
veren Aron when he became its conductor in 1854.
The briancy and appropriateness Of this composition
challenged its adoption for use on this occasion ire
specve of the distinction due to Mr. Van der Stucken
as one Of the a0es sturdiest and most devoted adyo
Gates of the cause of American music His labOrs in
behalf OF his colleagues in art rendered all the
more remarkable and praiseworthy by the circum-
stance that though he is an American by birth and
present activity all Of his life since childhood TIL he
returned to his native land years ago was spent
In Europe and all of his ideals in art were formed
Van der Stucken was born October 10, 1858, In
Fredericksburg, Gillespie County, Tex, but in the
early years Of the his father, a merchant, re-
moved to Antwerp. Pierre BenOit there became tire
lads music teacher and it is perhaps due as much to
that distinguished musicians efforts to animate a
national feeling amongst Flemish musicians as to
Van der Stuckens innate patriotism that though he
came back to America as a stranger to strange land
he had scarcely fixed his domicle in NewYork before
he began the enthusiastic and persistent labors to
conquer recognition for American composers which
have ever since distinguished his career. His march
is no less interesting in ideas and treatment than 1t Is
gorgeous in instrumental scoring and its swelling
climax I'm which the melody Of the old college song
Ecce GUAM bonum' is employed with splendid effect
derived peculiar appropriateness from the circumstance
that the beauties Of international fraternity and
reciprocty were now touched upon In the addresses Mr.
Van der stucken conducted his own march, Mr..
Damrosch surrendering the baton to him for the
purpose-a graceful act of professional courtesy.
The playful movement of a symphony in B-flat by
George W. Chadwick, of Boston. Tan Alegretto
scherzando, to be exact in the time and character
designation the only composition in the list ex-
ccpt Mr.. Van der Stucken'S march, now printing in
Germany, which has received the distinction that
lies in publication. 1t has been through the press OF
Arthur p. Schmidt, of Boston, who has shown most
laudable Willingness to help the American cause In
this puissant manner The Scherzo though Of the
the most captivating numbers Of its kind yet written
New York. In July 1858, II played at a meeting
OF the Music Teachers National Association Chicago
under the direction OF MIR. Thomas. on which occasion
IL won the admiration OF The Trbune's music reviewer
It's composer native of Lowell, Mass where he was
born on November 10, 1854 His early musical educa-
ton looked after By Eugene Thayer in Boston, but
after a year spent In teaching at a college In olvet,
Mich, he went 10 Germany, studying two years with
Jadassohn and ReInecke in Leipslc and one year IN
Munich with Rheinberger. Since 1880 he has been in
Boston, where he IL the Organlst OF the church
whose spiritual affairs directed by an old attaehe OF
The Tribune the Rev. Edward Everett Hale His com
positions in the large forms embrace two symphonies
four overtures, three string quartets, panoioite
1ulntet and several canta;as.
Better known in New York than his local colleague,
Mr. Chadwick, is Mr.. Arthur FOote, whose suite In
= major. the slow movement of which was played last
night was heard here mt one of Nr Thomass CHECKER
ing Hall concerts In February. 1850. Mr.. Thomas had
got aequanted with II the Chicago meeting OF the
Music Teachers National Association In the preceding