New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-11-18
MUSIC-THE DRAMA.
FIRST PHILHARMONIC CONCERT.


Tho nubIic rehearsal for the first concert at the
Music Hall yesterday afternoon gave convincing
demonstration that the ffty-second season OF the
hilharmonic Society will be auspciously opened
this evening The programme contains nothing
new except the instrumental dress to four COM
nostions by Bach provided by Mr.. Seidl but the
music is all such has long held It's own In the
admiration of the cultivated world, and artistic
heights were reached in the preliminary perform
ance yesterday that enabled the listeners 70
drink in copious and invigorating draughts OF en-
jcyment. The list thus made up First came
Schumanns "Rhenish" symphony; next the sweep
ing and entirely noble air. "Divinites du Styx."
from Glucks "Alceste," sung by Nine. Ma.
terna; next the set Of Bach pieces put together
as dvertimento for orchestra by MI Seidli,
finally the death march and finale from Wagners
Die Goetterdaemmerung." in which the music as
signed to Bruennhilde sung by Nine. Ma
terna. 1t was in the last number that the per-
fo rmers, under the direction of Mr.. Seidl, accom-
plished a feat which approached the marvellous
With the symphony 1t was not dinicult TO ma
fault The performance seemed TO betray want
OF sympathy. 1t was free from eccentricities OK
interpretation but it lacked expressiveness and
emotional warmth. This shortcoming also mani
tested itself In the air from "Aceste' which 10
scarcely a wise choice for Nine Materna in the
present condition Of her voice. AS rule tho
singers VINO attempt II rely for effect upon volume
OF tone In the opening period OF the address 10
the Stygan divnites. and yesterday Nine.
Materna followed their example. As a matter OF
fact. however. sincerity Of expression and truth
funess OF defamation are worth more. hundred
times than dynamic intensity in this case al
well every other one OF truly dramatic music.
How well Nine. Materna knows this truth
she took occasion to demonstrate In the Wag"
merriam scene Here she glowed with noble fervor.
and carried along by the lava streams that rolled
down from the orchestral mountain at the i'm.
passioned bidding Of Mr.. Seidl, she sang like one
n spired.
Were press and public more given to discussion
Of artistic problems in New-York we might expect
a lively pen battle follow the performance OF
Mr. Seidrs transcriptions of the Bach pieces. That
the distinguished conductor is respecter OF trad.
tions has long been known. No musician before tho
public at the present time Is more willing TO let
to-day speak its thoughts resouely. regardless OF
the uterances of yesterday or the possible procla-
nations OF tomorrow. radical of the extreme
type 1t was not to have been expected Of him that
he would undertake the orchestration OF Bachian
music in spirit of historical conservatism or
aesthetic timidy. Neither has he. II it be proof
or reverence for the old master to proclaim his
thoughts with all the glowing eloquence made pos
sble by the modern art of orchestration. then Mr..
Sedl must be a devotee OF deepest piety The
Divertmento is not transcribed Claver piece. az
its name might imply. but series OF four indepen.
dent compositions brought together and provided
with an orchestral garb The first Of the pieces
10 which MI Selui mas appueu the term sinlonla III
its archaic is taken from the overture OF
the orchestral suite In c major the second. which
he calls Prelude to Requiem" is the prelude
TO the A minor fugue for organ. which has been
in the repertory OF the concert pansts for several
decades in transcribed form; the third is the air
from the orchestral suite In + major; the fourth is
the prelude and fugue In ID major from the We'll
Tempered Clavichord," All Of these pieces but es:
pecialy the second Mr.. Seidl has set for the full
modern orchestra. not disdaining the tomtom and
triangle In the prelude. His command OF instru-
me ia IN he oSfp fhrpu
their application the pieces have acquired a new
and singular interest The characteristic, poly.
phonic style Of Bach is frequently concealed by the
added voices and. as has already been ntmated.
the arrangements would create a decided stir among
the purists of Germany II they performed. let
US say. at Lepsic The editors OF the Bach Gesel!'
compartments OF the conservative Franz, would
surely not be content with any punishment more
lenient than crucifxon for Mr.. Seld But II is In.
teresting sometimes to speculate what Bach would
have done had he thought as he did and what he
did, but used the means of expression which belong
to to-day. The Divertimento is such a speculation
I'm the