New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-12-18
MUsrC.
THE MUSICAL ART SOCIETY.

The Musical Art Society gave the first concert q
its fourth season at Carnegie Hall last night.
Again the entertainment, like each OF its predeces-
sors was Of the kind that strs up feelings Of glad
ness and gratitude in the hearts Of all the lovers
Of music who were present The audience was &C
numerous and so appreciative as In itself to give
delight and all evening the thought lay near to the
serious minded that In calling this society into ex.
istence and maintaining 1t. Mr.. Damrosch and
those who are holding up his hands have created
Of the truest and loveest agencies Tor the
motion OF genteness and culture In all the cty's
list An atmosphere OF refinement Is spread over the
societys meetings which Is no, to be matched ex.
actly in degree and kind at any other OF our mu.
steal gatherings The Philharmonic audiences are
peri APPS on terms Of greater and easier intimacy
with the music cultivated by that society," but that
II because their intercourse with 1t has been Of
much longer duration. The most significant Of the
Musical Art societys activities are In regions sci.
dom penetrated except by the specialist in music
and It can hope to win perfect appreciation for
them only gradually Meanwhile. however. It is full
filling a mission which Is az noble as IT Is beautiful
and which makes much for the ameloration Of
thoughts feelings and manners as 1t does for
specific musical culture.
Mr. Damrosch in making the plans for the concert
laid particular stress on the principal number, which
was the "Missa Papa Marce." by Palestrina, the
most celebrated work In all musical history, but he
also remembered the principle which has had such
beautiful exemplifcation heretofore. and included
some music proper to the gracious Christmastide.
This was comprised in an arrangement OF his own
Of tho little German CAROL Still Nacht. Neilse
Nacht" Ia verttable household word to every child
in Germany, and a song by Peter Cornelius, to
which he gave the English title OF THE Alteration
of the Magi." II must be confessed that the con.
cession was not large. but II provided lighter
part Of the programme which was plainly vel
come to a large portion OF the audience. and by
reducing the labors Of the choir during the ten
weeks which have been devoted to the prepare
ton Of the concert contributed to the effectiveness
of the mass in which the bulk Of the serious In
terest centred The little carol had been previously
sung last year Pretty at 1t was II would have
made singular impression upon the critically
minded had Mr. Damrosch not redeemed 1t by the
interesting manner In which he harmonized the
concluding stanza. But is IT not out Of place to
have an accompaniment. "a bouche fermee." at .
concert whose principal numbers are works Of such
supreme dignity the Marcelline mass and the
part-song by Brahms I'm Herbst." which came
later? This song. another by Cornelius entitled
AN den Sturmwind" and DR. Leopold DAM
rosch's dainty Cherry Ripe completed the choral
parts Of the programme.
An interesting novelty the Christmas song
by Cornelius In its original form it Is solo with
pianoforte accompaniment, the latter consisting
OF old German church hymn beginning WE
schGn euchtet der Morgcnstern.' The solo is moth
ing more than an effective counterpart melody on
the chorale set to the words of what is, seemingly.
an old "Drelkdnlgsed" and beginning with the
notes OF Pogners address in the first act OF Die
Melstersnger" Mr. Damrosch achieved a unique
effect by substituting the veritable chorale sung
by the society. for the pianoforte part Mrs Blood
good sang the solo with lovely voice. and the num-
Der was keenly enjoyed. though II was not signal
lied by demand for repetition as was the "Stile
Nacht. and the other song by Cornelius An den
audience was genuine surprise Its effects are In.
strumental rather than vocal. and 1t is cruelty diff
cult but II u stirring composition In spite OF the
effect made by the smaller pieces. IL was the mass.
however. which marked the climax Of the evenings
pleasure II Is over seven years since the work was
heard here before from the Palestrna Choir. under
the, direction of caryl Fiorio: in April. lsS,.
ances was almost great enough 20 tempt, one
say that last nights was the only perform
and more familiar with the "a capella" style.
The voices blend better than they did at
first the intonatlon il purer the nuances more eo-
quent and the singing much freer The crux Of the
performance was found by the choir in the ,Bene-
tonation and balance OF tone. seemed to have 80
awed the singers that they sang with care which
somewhat destructive OF vitality. But there
was splendid freedom and vlgor in the ''osanna"
and Amen" and the performance mus; receive
ssme a1T as ea tho
Between the mass and the shorter pieces the
sixth Of Bachs Brandenburg concert grossi was
PLAYED hy an orchestra composed OF the instru-
ments for which Bach wrote the work. The con-
certo was discussed with ample fulness In this
journal last Sunday. The instruments employed are
the ordinary vioas ~ to-day. yiole da gambia deg
vlols. distinguished from the ordinary violas.
which used to be called vOie da braccio. or arm
viols, yiolonceos and double BASES In the slow
movement In which Mr.. Damrosch silenced all the
rlpieno voices I'm the viola parts which are
alone concerned with the melody. and utilized two
solo yioas the harmOnes were ned out on tho
organ by Mr. W. &. carl Historical correctness
would have been subserved better. perhaps. had
this been done on harpsichord (which MI NJ
Steinert who loa ned the yfole da gambia could also
have furnished bur the experiment would nave
been venturesome The organ would have served
nicely had not Mr.. carl made II altogether too
promineni-so prominent indeed. as TO overwhelm
the violonceO part. The yioe da gambia are USED
I'm the concerto as middle harmony voices stand
ing toward the VOlas as these instruments usually
stand toward the vions in the ordinary string band:
their voices are soft and slightly nasal. and the
eject was as pleasing as II was novel. tnsteadi-
ness OF tempo marked the first movement. but
otherwise the work was well played; especially
commendable was the solo work OF Sam ana
Nahan Frankie.