New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-04-01

measure OF American creative talent, let us look at
what was presented we'll as we can under the
circumstances. The judgment is necessarily ncOm-
pete. being based on single performance. and that
not one Of notable excellence.
Mr. schoenefeld's symphony was in G major and
followed established conventions In respect Of form.
1t was. however, programme music. lie gave 1t q
title. calling 1t o "Rural" symphony. Two Of the
four movements. the first and second. carried ont the
suggestion contained in the title They markedly
pastoral In character The third though It had sub.
title Rustic Jollty" was In no dscernibe respect
delinentive OF rural life. and the finale departed
widely from the fundamental idea that Its incon-
shtcncy with the remainder Of the work was actually
disturbing to enjoyment II was military march
without sentiment and without coherency with the
other movements. This fact only emphasized
by the device TO which the composer resOrted In the
hope of making good the fault. Toward the close Of
the movement he introduced quotation from the IN
PRODUCTION ended It with chord OF january color, and
then resumed the march. The first two movements
were subtited respectively "Nature's Awakening
and woodland Reverie." They were pastoral to
a degree. and contained some ideas Of real beauty
such as the second subject Of the allegro ard the
two movements. played as they were. one
By want Of contrast between the movements and their
parts. Tho bunting horns sang and flute and clarinet
warbled so persistently that violent interruption Of
the pastoral placidty at any moment would have been
most welcome. The same mood, after .pcryadng the
FIRST two movements; resumed in the Trio Of the
demonstration Of Mr. schoenefed's want Of variety in
symphonic delineation The instrumcntaon Is also
sSnoenefed composed the work under the eyes Of Dr.
advantages spoken Of in the early part Of this review
The need Of contrast In mood and key In thought and
ss hi, S SoS h d. seeD S to 5
which, Is In the same Key. and Is also "outdOOrsy,"
he will discover how a master can impose mood
without being tied to conventional devices such us
horn calls. echoes and wood wind trs which sure
70 become monotonous unless applied sparngly and
larry enough In view Of the fact that he has been
his own Instructor r. his handling Of the orchestra was
be that asserve performance Of the solo part
would have created different impression. but on The
recollection Of the manner in which the IDEAS in The
portion Of Mr. Phippen's composition IT, indeed. the
sas sc are Of any II 'FSs pn
In fact pervaded by that somewhat excessive sobTety
which chung IRE clog to his last m rove which
the FIRST and middle movements seemed to have real
dignity. forcefhlness and beauty. the demonstration
places in which Mr. Phippen employ: canonc :mIta.
ton the sonndness Of his taste and training We're
to DR.. Dvorak and his felowjurors.
Mr.. Billiards. Suite for strings contained -four
movements An Adaco. Theme and Variations:
Funeral March and Rondo. The most ambitions OF
nuty Of the composer with the greatest severity and
yielded the most points for criticism was the Theme
and Variations: the most excellent In thought and
workmanship the Funeral March. the erect oil
which Mr.. Bullard unfortunately weakened very
materially by repetition, and by tacking on codo
built on q pcdal-pdnt after he had said all that no
had TO say. and had come to hns gracefully and
naturally. The variations. with two exceptions
were little wanting In variety but there were points
In the harmoni,aton and In the part-writing when
were we'll worthy Of being singled out Tor praise
The exceptions were the last two variations IN the
nrst Of which Mr.. Billiard provided the spectacle so
common In modern musical literature. Of q composer
who plunges boldly into fugue and then incon.
the fent OF getting in his four voices The last varia
ton was O ccvery handled rapid dance OF the
tarantee order.
Mr. Parker's cnntata had the advantage OF bet
ter performance than OF the other works. but "
Is also better music. and large share al the credit
for the better performance must 20 10 him. Tor ne was
also the conductor The cantnta Is settling one @,
many which the poem has received ~ ETnmn,el
Geibcl's "Drcam- King and his Love- Mr i"rN'i
has conceived his task In The spirit II narrative ballad
rather Than that Of the dIyrna hut he has nevcrhe
less succeeded most admirably IN the del'neaion oi
passing moods by Of harmonic md orchestral
devices. His music Is exceedingly vel scoren hh"n,
ana rnelodious and goes 10 III purpose WIN W!
RICHNESS which speaks OF conscious strength, w u
there was obvious for The frsi time IN The e>h,'i"n
concert n harmonious md mutually cOmpleihen'hl
unOn OF willing and doing.