New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-03-05
MUSIC.
THE PHILHARMONIC CONCERT.

monte Society In the Music Hall last night. - h"
novelties were n symphony in q minor. by u. Temple
ton Strong. and violin concerto I'm ID major OPP 81
by Edward Lassen. The schumann composition was
the symphonic torso known "Ovcrurc. Schcrzo ana
Finale" Why schumann never completed this WORK
by the addition Of slow movement and put II forth
symphony. we do not know. II We were to in
dnlgc in speculation on The subject We should say
that in all probability he finished the three npd
movements before finding satisfactory theme Tor
the slow movement, and then concluded that the
work lacked the breadth which the symphonic form
demands 80 he published the three numbers under
their simple descriptive title and by esc"wing the
term symphony spiked tho guns OF IN" captlpus
critics who I'm his day were still inclined TO look
upon Size rs an essential attribute OF art works This
attribute 1, no longer impressive as 1t used to c
thanks In a great degree. TO schumann HIMSELF, and
the "Ovcrturc Schcrzo and Finale Is gladly rnnkeh
among symphonies. where it belongs by virtue OF
iis contents and style. II dates from period when
schumann was striving master the classical forms.
but It's value lies less In that fact than In III" charm
Ing FRESHNESS; OF It's mcOdc IDEAS and the unclouici
vivacy Of the spirit which pcrvad"s II from begin
ming to end. Like the symphony In u NAT II u part
u his cphalamium, outpourng Of N" hippinrss
which surrounded him at the beginning Of his married
lifc 1t was a delight 10 hear II again from the fine
band OF tho Philharmonic society. who's performance
o! 1t would have ben almost perfect had Mr. seidl
chosen slightly quicker tempo In the Overture ana
schcrzo
The new violin concerto new TO the New-fork
public was played BY Nine. Camille Urso. il l.
not great work. and Its significance and dignity
somewhat impaired from the modern point OF
view by Its adherence 10 the old concerto notion
which suboriinatcs the noble orchestral apparatus.
wholly and unqnainedly 10 III" solo Instrument. but
Its melodies have n certain nristccrfic hinge whch
keeps the idea Of the commonplac" at arms length
and there Is much learning and ingenuity In their
development. \ oiticr compliment than can possibly
b. paid to by any critical estimate, however.
bestowed upon II BY Nine. trso. II wojh
scarcely be Jus, TO the taste and judgment Of III,
musical people Of Now York 10 say that THIS remark
able artist has ever failed Of appreciation during
tho many years In which she has contributed 10 h'ir
rdincation ana enjoyment yet the circumstance that
she f. seldom heard tcmpis to such mticiancc.
II l. only through the Philharmonic Society that
she Is enabled every year two, 10 make III;
demonstration that she belongs in the rank OF the
foremost Of living artists A. volIn,t she stands
today model for many Of the yirtuoi who have
caught the popular and live In the sunlight Of
popular favor. In her case the idea 81 sex. which
often obtrudce Itself and mobiles critical Judgment
IS never thought o. Beethoven once complimcnfci
a prince Of Prussia. who an excellent per
former and composer by saying that H. dI
play like Prince. but Ike muIcLN II
would not do - gay u Nine Trso that she does not
play like gifted woman. but like man. for the
speech. besides being ungalant. wpuid HI many
outline artist, to plane which they lifted 10
occupy. II IS better. perhaps. 10 paraphra,e the
remark Of Beethoven and say that She does not play
like either man or woman. but Ike sound. noble
carncs, and inspired mu-lcan. Her playing /, limo
possibly. warmth OF sentiment. Her perfect Tposr
rilncss b"geS confidence IN the mind ~ ia. listener
which frees enjoyment from every concern Her
tone Is finn. her taste faltcs> her style cha,te a.
raua In ~" IasSrn concerto there some sta
:, ndous technical dlncultlcs. which. sine" some OF
them cannot bc said TO contribute 20 the musical
effect 81 The piece. fancy were contrycd 10 dis
play the skill Of the VI Ini,t Iiallr. for whom It
composed These Nine. Ireo ove'ramc In Il manner
that amazed the knowing without discovering their
existence 10 The unl"arnei listener. IL Is scarcely
possible 10 b'siow too much praise on such an
achievement a. that Of last night. but rather TO BE-
dcplcro, that ihc words = reviewer. however ap
preclaiivc and .Lilu,ast.c. make Its merits
UNDER pod.
The new svmphonv Is tho SECOND work OF rs Kind
composed by Mr. strong Like his first (which
performed AZ Of Nr. Non der stucken's concerts
I'm Chcl.rng Hall on November -. l-17i 1t has a
descriptive title. It Is called "sintram. After De In
MOTIF FouQue.T The reference goes. Of course 70 IA"
I'D ronance written by la Motto rouque In the early
par 81 this century. This romance. III turn WAS based
on familiar plate OF Abrecht Duer"r Ritter Tod
ind T,.i.l- which had been sent 20 the then rofar
author by II friend with request for poem which
should cmbody his Interpretation OF the fantastic com
position which has exercised the minds Of ell the
critical bographers OF Ducrer. By his general t'fl"
two subsidiary notices {" The struggle II Man Against
the Powers OF EVIL and poctical Iuointion and
subtitle TO The third movement OF the symphony
Mr. Strong Ia, plainly said that the extra musical con
tents 81 the symphony are TO be- sought for In the
story OF sinram. highly imaginative and gr"wSomc
tale which deals With the Temptations o' young
horse knight whose life has been blasted by curse.
for which the fierce temper OF his father u r"sponSbi'
The fathr represents the dying spirit OF fae"h'sn''
and the struggle which runs through the book Is OF
twofod character; frs Ii Is the contest between Inc an
tagonIs'ic spirits Old and new religions ana
sec.nd I'm IN. ease OF tho hero Of the tale, olntra
between love and duty. Running through the story
Is the element Of supcrnaurnlis. for when puerer
pictures supplied the motive. sintran Is tempted 10
wrong q noble kinsnan for love OF his WIFE, ana 'iH
temper Is u mysterious individual. who turns out III
the end 10 be- his satanic Majesty. After years OF
temptation the young knight l. purified. Whc riuihS
10 his ancestral castle he Is Joined by Death ana the
Devil The former turns TO be gracious TO him.
the hitter he exercises In the name OF Christ Inc
scene the book Is translation into words OF Duercrs
singular composition. and the third movement OF the
symphony, which stands In the place OF inc Gus
tommy Scherzo borrows something OF Its formal
structure from the schcrzo. is II translation OF III"
same scene into music. This Is frankly con-
fesscd I'm the subtitle attached TO the move
mcnt which Is "1he Two Terrible Companions
The last movement Is inscribed THE Victorious
struggle but the first two movements have no label
Their relation to the tale IS Indicated by tfeir char
actcr and also by designation given In the score
TO n horn call which Is OF great signihcanc" IN the
musical development throughout the work This Mr.
Strong somewhat naivcly desgnntes "Sntans Horn
CALI The general idea Of n struggle Influenced by
dread OF the supernatural, fundamental again 70 the
story. and the symphony is brought out also In the
motto OF the 5, mphony which consists OF the following
lines from Goethc's Faust" Part III, being f3usts
reply to Mephlsophelcss expression of surprise 'at
he should have shuddercd on hearing the name Oh
those mysterious, primeval goddosseS whom uoethe
got from Plutarch. The Notices.
Nathlc.s in torpr lies no good for mo;
The chill Of dread Is mans best quality
Though from the feeling Oft the world may reno US,
Deeny we feel, once snltten. the tremendous.