New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-01-10

THIRD PHILEARNnNIC CONCERT.

metropolitan OnIA UJu-" last nlEHt was >fhu
mann, overiIrc to Ryron's Manfrcl- aud Richard
strauss poem In tone, entitled Tod und Verklac
rung.' In IN, d.,i Instance, the cil Interest was
excited by the passionate reading which the work
received IN tie -cond delight with the Performance
was paired with the singular fascination excited by
the composition. There were two other numbers on
the programme. both Of hrg' dimensions.
but in the case of Mr. AaVer ~char
wenkas second pauoiorie concerto an equal peu.ur'
was estOppcd by the want Of originality n the com
position, and in the Of ans highly Imaginative
and beautiful Forest symphony too many questions
Of Interpretation Wcr. forced upon the critical NINA
TO leave for the highest kind Of enjoyment IL
Is for this reason tlat the familiar overture OF H'hu
mann and the new composition by tn, young 'uc-
ccs,Or Of List In the cOuductOr,hip at Wcinar have
been designated the chief contributor, of interest
to IN evening which was full OF eniOymcnt,.
Outsid. Of the sen ,uOus, intellectual and emotional
pleasure aroused by the music Itself there Is peculiar
satisfaction In hearing noble band Is the Phil
harmonic society play Schumann's overture. it
furnishc, happy Illustration of harmony between
tn. art work and the agency employed In it, repre-
sentation Much Of the incidental music composed by
schumann for Iiyron's poem belong among the most
glorious creations OF the composer The
fact that lit was composed when
the melancholy which aftcrward grew into madness
already bringing disorder into his mind only
emphasizes the circumstance that for sanity Of thought
truthfuIness and depth of feeling the overture is I'M
surpassed among Schumann's creations. ana i IN
deed Of the nobest products OF poNtBe"thovenan
art. 1t is wholly worthy OF Byrons uhspeahabh
melancholy poem and indeed in manner trlnsfgiics
il and brings II nearer to the affection. without 'A
trrvagant hypcrbOe IL might be said that IN the
overture schumann by the potency Of his own magic
art and the transmitting power OF music has grah'eu
the prayer which burst from the aSon1cd heart OF
pyron's hero when the strains Of shepherds pipe
were waited TO his cars by the Alpine air;
',Oh that / were
The yiewcss spirit OF a lovely sound,
A living voice a Breathing hsrmony,
A bodless enjoyment-bon and dying
with the blest tone which made me ~
Death and Apotheosls" rs the English ute VI
Richard Strauss's new composition has IL, Is coNCeP
ton which expClndcrs OF symphonic poems ana sym
phonles have frequently suggested as a programme
The conception has "a natural affinity with stc'siui
finale concluding triumphantly. as most hnaie' must
But the young man Of Wemar has not coh'eh'eu "l"
self with pnetical generalization in this new compost
ton lie has aimed at defnitcnesS, ana loAo"cd s
aim though ii carried him into SICK room ana iel MN
Ia do what never composer attempted 10 no pelo''
namely 10 present in musical tones realistic Pr'"'o
~ bodily dl,~ntion Despite the cloquch'e Oh t'c
music rs marvcously graphic character, the ingenuity
Of It's structure and elements We cannot persuade our
elves that the physical aspects Of death form an ap
pronrate and beautiful subject for symphonic llsra
lion III Il werc dramatic music NJ Cpac "ouu "o
dtferent): ard We doubt whether 'hls t"c P' III
can correctly be said 10 achieve complete Iu'thcao"
for itself Notwithstanding its fOrccfunes OF cAps'"s'
The ground Of this objection Will be undersu De''ei
after nm exposition Of the programmatic contents u
mo corrosIton The scope OF the work is suggested
I'm n poem which the composer has appended u h'S
.core The pom. We venture to say had no me
pardnnt origin. but written to oNor Ir u''
rrirposes 10 which the composer put IT, or unuer NV
inspiration Of the music This Is obvious rom u''
manner I'm which IL IL adapted to the needs OF I'll"
cnruo~er in the matter Of form The sequence Oh
incidents /, one which the requirements Of music woud
.ur-,st but u poet working independently would not
-, ukely 10 think o. These Incidents IN hrirf Ilh'
Ell, course ~ his bedchanicr man les oyln-'
lie las just passed through '"nFu'''h anu
Hes exhausted his couch. bis tIc' re-
nectlng the dream OF childhood when occupies ms
Uandering fancy y clock ticks on the wall candle
a,cker. on the table This peaceful picture plainly
conceived by the poet for the sake OF quiet introduc
linn i of brief duration and Is disspatcd by return
IF the struggle between the vital forces ana de',h'
I'm the midst Of the mortal agony thoughts OF the d'
ucht, ambition ard ,triyngS Of youth ANA mah'ou
m the sufferer, mind and the question whether ar
not death is a realization OF HES dreams torres lSeH
u,gi<;.nty into notice. The struggle ends with death
triumphant over the body but with the soul entering
mon realization Of what the poet calls welt
crloe-unc WctyOrltlacrung.' that - nnlfcf'aI r.
dcmpiou and TRANSFORMATION. II i evident enough
hat tA. spiritual aspect Of such battle and victory
NAV De Illustrated ia music In such manner u 10
, A, aru, cric,,m Think OF the Cmlnor symphony Of
beethoven But Richard Strauss, with the love Tor
ulctlrc,queueS o. pctoriane,,, which has become All
900 common nf ntc chose 10 adopt what must be
led "A macrnli>t. view OF his opportunity lie begins
The composition with sync0pated figure In when the
Irregular healtbedts and stcrt0rou' breathing OF 'he
dying man are only too wildly suggested. Iler' Is
Won IA little fcure IN tho flute part repeated near
.he end Of the death ,pasm. IN which ono is forced
10 .ec the niccriug "a the candle In IT. natcI"I ~
well a. its symbollral aspect. with the climax pre-
codnk the final mn Of triumph the composer car
scs His h.aicr- into the hospital II" lalry r'N'i'
I'm the deliucaOn Of the awful struggle ana seems
20 rejoice that his ART enables him t. do WHAT lhe
rsnter Parrla,us. In the old poem vanly longed 70
io-to paint dylng groan. such marriage oil hi"''o
and pathology ..cus t. u, an error In IA symph me
work which hy it, very nature must be ideaisc even
yh.u r.. subjects arc such would be beautiful II
mr. i. ntcd b, imitation. There l., indeed great deal
- id.allsm in Her str1us,s composition. but II Is
confined Almost wholly to the TRANSPORTATION. &c
| 'wren the ne.Oiy which symlolzcs the solution ~
a., cyey.n.tl,r problem and the theme which I'm
,.u,n, pia,e- j. made D. give expression TO the am
Billions hope, and striving, OF life tlerc Is relation
hin 81 beautiful i.Gilcance bat the efficiency oi ms
poelicai device seems to us to De n'ariea py We W.
nhy ,col .trncglc We would gladly have bcea spar Il
| The horrors 81 tho death rattle. fhh ne must
;.scuatc> (. igc. but II Is In part an HWfu itS''h"
| ION void O. aesthetic charm. V an cNHmp,e ii
,,n terfni handling ~ the element, If e mp lpn
| nIr,iculariy Of ihcuatc dcvel1 pm'nt and in-tn
n,n,atlon tie touc poem Is most lchnran', ,,"H , III
Jai- Of inc question which We have i@sGa az tI t
M, legitimacy & IT, realism. We aic Inclined - set
| - dawn os thc mof notable composition OF Atftt'' >
| that We have VT beard .. -,
| Nr ~cl.rStHEn's Generic made Pc>aht Hh
nr.sdon npog re audience, AMI a." '"mlo ser, VINO
ri.v.t n. soi, Mart rewarded by hearty applause
m. most adnItD portion may be s"id io u" IN "i-t
increment no. ollc bocause Of the gf,dt'r eppn,Hh,l1
~ ',r"nt;on di,p,tytd hl It's tcmntic WucldI. bul
a., Ly rc,,nn al Ia dignity and expressly NJ 81 mat
| natcr AL Il, principal subject to Wh' ~ lm com
- ,rrurs !, l., coc In order to galN bi"tI ci"e
Ind p-ono. the idea Of unity. Is strong ma GSnlned
! il, mnrLed contrast with the ChOpineslue hlcC"c' V
,,,n. 81 s1v,r," color which /, the prnCGi eubleo OF
| tb" nr,,c The wo:t. which Is nrch helped oS lbs
,,or.r,. and eject We orchestral part is not new
nne ard v,s nql acre or thc first time about tN'iNc
ycarS 20 wEeI { Wls PLAYED by ConsitHuh SpI"o ~