The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1894-01-27
FROM FOUR COMPOSERS.
SChumann's Overture to Byron's
Manfred"
BEETnOVEN'S EIGHTH SYMPHONY
List Symphonic Poem the Success
of the Afternoon-A Specimen
of L" Programme Music.

The only complaint uttered by the au-
dience as it left the TivOli after the Bauer
symphony concert yesterday afternoon
was that the programme had not been long
enough. That in itself was a compliment
to the entertainment, for when an au-
dience asks for more it is sure sign
that it is content with what has gone before.
The programme opened with Schu-
mann's overture TO Manfred" This was
satisfactorily interpreted by the orchestra,
although its rendering was less calculated
10 wake enthusiasm than that of ary of
the other three numbers. Like almost all
Schumann's compositions. this music which
he wrote for Byron's wild fantastic play is
intensely interesting and beautiful, but
lacking IN the dramatic feature. and the
rendering given to it yesterday scarcely
brought out what little dramatic spirit is
TO be found in the overture. 1t was we'll
executed in other respects.
Goldmark's "ScherZo." op. 10. was
charmlngly rendered, the pZZicatO pas
S ages for the yiOllns, with the horns and
flutes playing IN piping pastoral manner,
being given with particular delicacy and
finish. Tie whole composition was played
" Iih animation and good rhythmic swing.
The success OF the afternoon, however, was
decidedly LiSz' s symptom poem. AS most
a series of "Preludes." each OF which has its
own story, told 10 the audience by means OF the
programme. 1t is supposed that the hearers,
once aware OF the theme, VIII let their minds
and negotiations dwell upon the given subject.
Unlike BerlioZ List in his preudes does not
60 so far as 10 depict detailed story, replete
with dramatic situations. He shows more the
deeper, loetical meaning OF his theme, and
leaves the details 10 the imagination of his
audience.
Yesterdays symphonic poem was the one on
death. what else" ran the printed descrip-
ton, ais our life but series OF prelud TO that
unknown song whose first and solemn note is
struck by deaih"' Then followed three para
graphs describing how IN the breaking light OF
love its first illusions are shattered. how the
wounded soul would fly to solitude were II not
that man prefers the battle 10 prove that he Is
IN the full possession OF his might.
Every nearer doubtless interpreted these
suggestions according 10 his own Individuality
during the progress of the powerful suggestive
music OF the symphonic uOem. There was. d
deep interest manifested throughout the whole
auditorium from the first soft strains of the
prelude on the strings TO the end of the last
bar. Adolf Bauer welded his baton with an
unusual amount OF magnetism and ardOr, and
the orchestra by lis playing showed itself TO be
In borough sympa by with the music.
The VlOlins particularly distinguished them
selves IN the prelude. Their rapid execution Of
WleId chromatlc passages was perfect In tune,
and was marked by great precision aud yiyac-
lty. Tie ensemble work was also excellent
and the warm applause with which the audi
ence greeted The conclusion of the symphonic
poem showed that The phiOsophic and pictorial
ideas which 1t had suggested had been thor
Ougbly apDi eCated
Beethoven's eighth symphony was the last
number CD The progTamnl-. The FIRST move
meut, "alegIO Yivacr e con bTio," opened with
the spirited tempo indicated, and though this
sackentd before the conclusion of the move
ment IL was not In so marked a manner as 10
b noticeable. The "AIltgretto ScheTZandO'
was playlully and crispy prayed; the Tempo
al MlnuettO" was also marked by precision and
excellent execution.
At the conclusion OF the final movement the
''Allegro Nlyace," the audience showed their
appreciation by considerable applause.