New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1897-11-12
MUSIC.
THE BOSTON ORCHESTRA.

,-na ,,,c,ssltudes of the Boston Symphony Orches-
.,a IN New-York have entered upon new phase.
" ,doa nv the attendance at the ilrst concert OF
'organization which took place last night IN the
.,O.ronoltan Opera House When the baho irs'
W. '"v % Give concerts in Steinway Hall ten or a
- vaars ago the audiences were OF the hihu
,oIv described as small but select SO iar as the
U.s. ~ the city's music-overs was concerned
M searned TO exist something like an indifference
80 tho visitors possibly even disposition TO treat
ham a. interlopers. as IL NeW-forK heeueu "o oe
~ cor,e from, the farther East to show 1t what o.
ohes,ral music might be. Then 1t was no'iceap -
mo-, tho faithful who were not numerous. but were
,o,a,, select were people Of Bostonan an'ece-
Sa,,s THE number grew. however, for New III
49, ,oe,ropoUtan to cherish small pre)udices io"e'
.rd nv the time that it was thought eAl'u ,,"o
touse the concerts in Carnegie Hall, large !,
NJ liberal tastes and no marks of even u's'''e ,
nrovinciality awaited the coming Vi w, r,ora
musicians eagerly, and heard them eiauiS -
came an unfortunate reaction later ar" Wv "a,
cons Al the METROPOLITAN Opera House nave O
,ood . crea, d,snarity between their arts'c anu
financial outcomes But there Is 10 uoOo"'"e9
Mr. Hierinson and his reward seems " no
for the subscription this year is twice az 'aiee
that OF last year. and last night auu''"o -,
such I'm point Of numbers. as well as charactei d" "
make the heart of manager Gro" c"""'
There WAS nothing unfamiliar In the progrdh''hc
,boueh IT'S concluding number, Chabriers spanish
Rhapsody has not been heard mere oi'v" P
ably because local conductors have recosii~eu '"''
rs success with an audience depends upon INC ~
nost Xrtuosity in performance there being ho'h-
nv - ,,s r,eIodic ideas 10 compel even moderate
aenec, IN say nothing Of admiration. But MI
Joeefry was down for the solo number anu MS
name is a good one TO conjure WITH lie Pia!eo 'iio
ccbumann Concerto, but not in way 10 satiSiS
all the expectations which the announcement OF
bis nurpose awakened. That he Is thoroughly IN
NTH no work Is open 10 very StllOuo
ousstion II he were, his performance would sure
Iv have been broader and more poetlcaL lhere
was an intimation in the intermezzo that the ie'i
ing of disappointment left by the hrst movement
would be disspated in the finale, but MS treat
n,ent of its principal melody was singuarly incom-
nrebensible coming from sincere and expert
enced a musician. Here as in the preceding po'-
lions of his work, the clarity or MS choTuS au e
crspness of his finger work were admirable pu'
the chiyalresQue puissance or the music was Io'
brought to the consciousness OF the listener ram
w. his heart was not in it: or If So not to frac-
,,on of tba extent that it was In the intermezzo
from Brahrls's Opus No. 116. which he played on
the recall Here we had not only Brahms III an
his loneliness but also Josefy, with all MS uel!-
cacy. all his poetry all his knowledge OF the Ell
fec,s possible 20 the pianoforte II PROVIDED H'o-
nent OF supreme delight
The concert began with a tribute TO the memory
of Brahms-a performance Of his symphony IN r
obviously offered in spirit of truest devotion by
Mr. Paur and his men, and accepted with gIad-
ness by the audience. After 1t and the concerto
came the familiar Peer Gynt' music of Grieg, and
the Chabrer Rhapsody. The grotesque concluding
number written to illustrate an episode In lbsens
fantastic creation. made so strong an appeal TO
the lovers Of the bass drum and Turkish Patro.
effects that IT had to be repeated to still the clam
oring Of portion of the audience Notwithstanding
that Mr.. Paur showed cOmmendabe unwillingness
70 disturb the dignity of the evening. already
strained by the Grieg number and the Chabrier.
"Espaha' at the time still in petto.