New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-02-09
MUSIC.
COMMENT AND CRITICISM,

The intrinsic excellence OF the music and the hin
merit Of It's performance made IL doubly depora,
bic that the weather Of last Saturday evening deferred
considerable number Of the regular subscribers OF the
Philharmonic Society from enjoying the fourth con-
cert. The compositions all good and true music
and though the appearance Of the list made up II
OF an overture Of unusual proportions, symphonic
fragment, pianoforte concerto and symphony, sug
gested rather heavy fare permitted to
think for a moment Of a want OF variety The opening
piece alone new and the fact that IL maintained
right to companionshp with its fellows In mental
review Of the evenings music is tribute 10 It's lofty
worth II overture 10 shakespeare's Antony
and Cleopatra" by Rubinstein, his newest published
composition, 10th numbered work. Shakespeare has
long provided titles for musicians, but few OF tho
Overtures symphonies and operas which have borne
them have satisfied the expectations reused by their
proud titles. In the overwhelming majority OF cases
they have melted the critical amendment proposed by
living conservatory professor in Germany, Who
glancing through pupils Hamlet overture, closed
1t with the remark 90" have 10 suggest better title
Much Ado About Nothing.'' Rubinstein's over
ture does not belong TO this class. IL can be
cated with that finest Of all shakespearean operas,
Ncofaps Merry Wives of Windsor the better por-
lions of Berlozs Romeo and juliet" symphony, and
even Beethovens "Corolanus' overture, If choose
to count work in the shakespearean list which does
not owe its origin directly to the English poet but
again is high praise, but deserved. The overture In
deed made us forget for the time being the extent
to which the want OF symmetry between Rubnstdn's
creative judicial faculties has caused dsappont
ment in the productions Of the last two decades 10
seems as If the imaginative fires which burned within
him when he composed the ocean" symphony had
burst forth again after long smouldering The work
Is laid out in broad lines, and Is characterized from
beginning to end by remarkable richness in orchestra
r. nd al
Iucidity and forcefuness Of expression IL required
no dissection Of the work to point out the musical
symbols and their prototypes among the plays per-
sonages They three-a majestic phrase typical
OF Antony in his best estate, sustained melody Of
passionate nature which tie composer has reked out
with all the gorgeous Instrumental and harmonic col.
orlng of the dangerous East and used to bring up IN
fancy the picture of Egypts queen and the love OF
Love and her soft hours which were Antony's un'
DOING and broad, BRIGHT militant fanfare, In WHICH,
obviously, We arc expected TO recognize the SYM
Dol of Octavius. These melodies are happily
chosen, and the progress Of the plays action
in its great moments is easily followed from
the time when after brief struggle we se'
1.-THE triple pillar of the world transformed
Into a sIrumDets fool'
down to the time when the possession OF all
the orchestra by the faring fanares tells oI te III
umph of the youthful triumvir. 1t is beautiful music
and all the nober because it does not disclose slaVsh
adherence to any mans programme. The spirit OK
the tragedy breathes it, but the Imagination OF the
listener is left unfettered The simple title, Antony
and Cleopatra is programme enough.
The overture. like all Of the music OF the even
ing was splendidly performed. The philharmonic So
ciety disclosed itself in its od-time power and dig
nty and answered to the clear but unobtrusve beat
Of Mr.. Thomas with the promptness OF veteran sol
ders The result was that in all the music one felt
that appreciation Of reserve strength, mechanical l'
telectual and emotional. which is the abiding place
OF repose and the most potent stimulant OF artistic
ENJOYMENT The bands fine muscularty came most
prominently b notice in schumann's symphony In
b fat which concluded the evening. and Its deiicacy
and beauty OF tone in Schubers exquisite symphonic
torso i'm h minor. Mr. ThOmass sympathetic anu
tender reading of this work was the most eioiueht
proclamation Of the loss which New-forK VIII
suffer in his departure that rs yet been uttered'
What a singular commentary on the mou'es
and intelligence OF New Yors wealthy music patrons
is that the fund which might have kept him IS freely
contributed for another because of the circumstances
under which that other is able to ask for H. SO soon
as Mr. Thomas resolves b 20. In this and the con-
duct of The Metropolitan directors VIII be found pres-
nant subjects for the musical commentators OF 'hs
near future Wealth and its obligations toward MUSIC
" Society and its Duty toward Art, WHAT erhohs
might be preached from these texts Mrs Bloomhela
Zlessler played Chopn's concerto in minor ior
phonics 1t her finest achievement TINS season
strong but not bosterous delicate but unaffected fu
of sentiment but not maw1shly sentimental Driisn'
in mechanical execution, yet never suggesting display
for displays sake; healthy, wellpoised, selffeha'
efficient worthy of the composer, the society," Tue u
tlnCuished company that listened, herself and the III
sirument .on which she played. Her reward was
enthusiastic appreciation IN acknowledging Wn melody
played Grieg's Berceuse" whose tawdrlness III ei"'
is scarcely atoned for By its richness In harmony
Though personal, but credible. source singular
tale concerning signor Faoeios unfortunate nei
malady reaches According TO this tae tne RuDnS,t
er Ricordi and fine composer Fancheti have lately COM
bned TO have many indlgnltles put upon , mr.
objection for modern German music, that Ol mesns.
In particular the latter because OF some rank
Of Israeli that the latter RrS was Il s is said a
even the stage hands AT La scala were ehoouSeau ~
lmpertinent behavior toward the man "ho w" ~ w.
to add dignity to musical Italy.
No musical raconeur has ever surpassed genial NAY at
Maretzek in investing what seems ancient history Ny,
freshness and interest. II has also been oei.An
TO hear him tell OF the gories OF Italian opera q seLc
Grafton two ago with enthusiasm unmairea D! NE
degeneracy of the latter day Recent events MAKE oe
OF hs Scndamv If Mnsc timely and interesting and
ID Is therefore agreeable duty 10 can attenoh 70 &
fact that he has published another ns e s NJ
and Flats" We commend the book 70 the perusal Oh
the stockholders of the Metropolitan opera House.
Notes The fist appearance OF Minnie liauk IN N
" L'Afrlcanep at the German Opera VIII taae place. '"
Tuesday evening In place OF Ash Wednesday. "a.
The programme OF the Brooklyn philharmonic society,".
fourth concert next Saturday evening Is as ioloNs.
symphony q minor Mozart variations on Them,
BY Haydn. Brahms overture Fantastic, hamles,
Tsohail;owsky. Concerto for violin, No. 2, SAINT
Saens Maud POWELL Instrumental movements OF INC
symphony Romeo and Juliet Berloiz. 4 concert ~
which many fayOrte singers will assist will take pia,'
I'm rhlclerng Han on saturday evening, feoruaiSS
for the benefit of sgnor Ferrant Louise Gerard an.
Albert g. Thes will give Evening OF song ~
Stenway Hall on Tuesday