New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-02-11
MUSIC
FOURTH PHILHARMONIC CONCERT

FOURTH PHILHARMONIC CoNCEnl'
Tho features which gave Special Interest 10 the
fourth concert Of the nfty-secend season OK .ne
Philharmonic society, which took place IN .ne
Music Hall last night, was the production e' nc"
syn,phony BY tho young scandinavian comPese',
Christian sind!na, and the singing OF NJ ro'
planqon. OF tho Metropolitan Opera company
Tho latter feature was most admired by the @ua,'
once and the greater part or NJ F'a"cehS W.,
richly deserved tho admiration. II Is comparatively
seldom that ono finds an opera singer VINO "a" ~
his command a style OF musical utteraneo ~ ioF
the ooncert.room. Yet NJ. Plancon was most art's'
tic In the cir, Rolling In Foamng p!llows from
Haydn's Creation" which was his nrs' nulnoe,
last night He sang the chaste anu e'aseSa.
music with all the suavity. dignity ana 'o"o' $780,
that one might have expected from tfa..e.
oratorio singer and charmed his heareFs ''uS
they insisted upon either a repetition or suppe'
mentary number. Then he ADDED 70 'ne 40 III.
asm of the audience by singing 49,
and Osiris" from Mozarts Magic Flute s'So
with orchestral accompaniment. Inc -,
niece on the programme the finale from "as
ner's "Walkiire," in which he sang "ola" ~,
we'll to Brunnhde In the airs by hay "" o..
Fart he used the French language, IN the
nmber the Italian 1t Is more than prooane ina, ads
NJ Pancon would have been wiser mao ,a,ter-dsy
use of the French altogether sia ton into the
soS, hostar Latin as well into French: anu t
Italian operate poetasers seem 10 than their kns-
stand, ma o. " he mountains whose tongue mas an
Infusion of Teutonc element ana wo lines lose
rns ~ their force as well their poetic 9eauX
when robbed Of their aiteratve melody ar aN IN an
always TO be sung either In Hern ih sbau retain
I'M fare which belongs to the poetry o. to-S Ia
Teuonic and be In the
In English quite as wen as we're az 60 many modif-
version Manners melody due to the introducuoaa
Of Additional syabes that Bssaes beauti.
In character and effectiveness - its strange
nas a. him was obvious and his generally pure I'M
tonaton suffered shipwreck on .n e, ali the tests
h zysh WaSner has provided for his singers Inc me
great sincerity of the singer howw W., 20 the ap-
nobility Of his voice comt rd after the music was
ended he was recalled again and again u '"e ''"e
By the delighted hearers. ..,,,. y. e IN n minor
, w. cnm1osers twenty-nrst numbered composs',
tion, Is a work which Is bound 10 a'tna ~ b has =
attention OF the musical worId; sss,onment OF
p.ay ,n a COMPOSERS style. is reported to nave
said that Slndng has more ta.ent ,hd h ne doubt
birh praise and sincerely spoken. neyoha uouv -
have greater strength In the handing 1a Ia .,5
forms and the orchestral appdra1f force and the
WnrtSiland.s melancholy. 1t L. however WORK
when shows it's creator in state OF trans'''Un on;
The alen, which Gries lauaea ,ba dominion DON
ca, ca ,,,sde Influences Not only does Wagner
SPEAK unmstakably in the score, but there AR, ard
voices also in II from Russia ,ro Of what ouah,
~ ~ he the iocose movement but can scarcely pe
called playful 1t s scored so thckly as 20 1e and
t ,,oI rbvthms melodies and workmanship are Simply
anazing n was conducted by Mr. Seidi win mann,
fest Devotion and ms ms r nasc mentioned Wagners
"Segfred Idyl' was played-ann paysu mt.ers smY
anything else though IT, IKE all the rs nIay
fered from the tendency of the frst norm 10 pay