New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1897-04-04
from habit Of confidence In The Tribune's I'M.
rightness which Is of long standing -

'mprimis-Has the writer Of the above letter
| stopped Ior moment to think how much Of the
change which she depores in the tone and compo-
sition Of the Philharmonic has taken place in her
senE one characteristic feature OF that tone has
remained-the voice of the oboes-but is a pro-
hcuncediy Individual feature and one that caused
much unhappiness 10 Mr. Thomas fifteen or sixteen
years ago, as the doube-bass and brass tone seems
to be giving our correspondent now. Isn't there
| considerable personal equation in the judgment?
once the style Of reading, the programmes, the
balance Of parts-everything contributed to the
enthusiastic listeners enjoyment; the reading
| Is full Of storm and STRESS the music chosen for
Its dramatic forcefulness and read in a way which
Mr. Seidl probably fancies to be picturesque and
| truthful but which strikes correspondent az
violent and rude. She misses suavity and clarity
In the bands playing, and cannot convince herself
that there has not been decay in the quality CT
| the tone as well i'm the technical skill of the
1t would be an idle thing to deny that there Is n
| Kernel Of truth and very large one. in the first
paragraph of the letter There has been a loss In
precision. in studied balance Of tone. in technical
hnsh, OF late years and some voices like that of
| Mr.. Bohms clarinet which have been lost In the
course OF nature. have not been replaced; but to
| great extent the difference which she points out Is
| due to change In the methods of conductors The
| Wagneran school has won the day over the old
| representatives Of placdity. In many things they
| have gone to extremes, The Tribune has at diff
| ferent times undertaken to prove in controversies
| with Mr.. Thomas. Mr.. Scidl and Dr. Buow
but the principles which they try to represen. have
won recognition from the people throughout all
| countries where orchestral music OF the highest
! order is cultivated Even the dry bones OF Leipsic
| have been shaken up. and through the Gewandhaus
1 there blows a breeze, since Mr.. Nikisch succeeded
| Reinecke conductor. which threatens all the
| perukes which long wagged complacently
| there The liberties are beautiful things and
| must not be rebuked until they degenerate into
| licenses to work ILL.,
Would the critics be doing their duty II they per-
mitted themselves to be carried off their feet by
| the fierce lido running In the direction to which
practically all musical thought. whether apper
| tanning to the drama or not, has been turned by
| the triumph Of Magnetism? Certainly not; It Is
their duty to try to conserve. Would they be doing
their duty If they refused to give to the newer
| procamations and insisted that only that which
deserves still to be? Assuredly not; It Is their
| duty to point the way to each manifestation
and strive themselves to recognize all the merit in It,
IL II should disturb their notions of propr1ey
| and artistic righteousness. Critics must not grow
| OIL They ought to live long in order TO acquire
| vast stores OF knowledge and experience, but so
| long possible they must hold out against that
| law Of human nature which makes old age bark
! back to the things of its youth for all manner OF
| standards and that other which longs for serenity
| and comfort and turns away from the hury-
burly OF modern progress and sits down among the
accomplished things Of the past One thing besides
| knowledge and experience the critics may acquire
with age and 1t is but fruit of the others-kind-
illness and liberality Of judgment such as we are
exercising here by refraining from criticism OF our
| correspondent who charges The Tribune alohs
with the other newspapers. with pushing tolerance
| of the shortcomings Of the Philharmonic Societ!
too far and falls to record the fact that this jour-
| nal has been as little stultfed by It's conduct
| toward the Philharmonic Society as 1t has by Its
| treatment Of the Symphony or Boston orchestras,
| the Italian German operas. 1t Is a question OF
| record merely easily answered by an appeal to
the files We might begin with request Tor CHAP
ter and verse of the quotation from the criticism OF
| the fourth concert touching the Schubert varia-
tons
The Tribune has repeatedly expressed dissatis-
faction with the concerts Of the Philharmonic. 1t
has rebuked Mr.. Seidl for some OF the very things
| brought against him by our correspondent, 'espe-
ciay for his disposition to force dramatic readings
| upon works which do not aim to be dramatic. but
| It could not find fault with his Interpretation Of
| schubert's Minor Symphony at the fourth con-
| cert for 1t seemed to The Tribune lovely and rev.
| erential At the public rehearsal 1t was married by
erraticism Of tempo and expression. In case like
this which is brought into the controversy by the
| sweeping character of correspondents con-
| demnation 1t must suffice to say that 1t is a mat
ter of Individual taste and judgment So, too with
| the instances cited Of Bach performances. We are
| persuaded that Mr.. Thomas was guided by the
| most reverential feelings for the old master when
he Transcribed of the violin and clavier sonatas
for orchestra, and that Mr.. Seidl dreamed of any
| thing but musical sacrilege when he made his ar
rangement Of a suite. Does our correspondent wish
to have us believe that she conceives the spirit OF
| Bach a rugged old Goth in music, to lie in ever
| lasting pacidy? Must his violins always breathe
| the murmurs of "eventide. cool hour Of rest?
Surely she is in earnest for she must know thai
Bach is essentially virile, and II she believes that
he is good medicine she ought not to object to hav-
ing his archaism stripped off In favor Of modern
| earb so that garb does not conceal his musical
| structure Was Bach's thought lost In the Thomas
and Seidl prescriptions? We thought no.. 1t is, of
course possible that to the original version Of
tho sonatas may seem preferable to the arrange
| ments; but who alive has heard Bach's music as
| the composer conceived and performed 1t? How
| many have heard 1t as 1t has come down to Us
| on the written and printed pager
| As for our correspondents description OF the new
| rhythms which alright her. we do not know where
| they are to be found or what they are. 1t is in
| the rhythmcal department that the art Of music
n most deficient, and in which its nearest progress
| will be made that the orchestraton seems TO
| hava been developed to its utmost capacity. Shall
| q halt be called to that progress, If at first our
ears accustomed to the old: should be startled by
| hnn. -" thaf the philharmonic concerts may grow
| better. There Is vast room for Improvement.
Tho Philharmonic Society will give Its sixth pub.
lie rehearsal and concer. for this season on Friday
| afternoon and Saturday evening in Carnegie Hall.
Ben Davies, tenor. will be the sooist and tho So
ciety will be further assisted by the male chorus OF
| the Apollo Club. The programme will be as fol-
| lows:
Overture 'Ieonore" No. 3............... Beethoven
froro '.Jephtha' ................... Handel
| =" "" Wagner
| Mr. Ben Davies
| A Faust Symphony. 'i"s%t
| - Closing with male chorus and tenor SOLO
| Mic. Carlotta Desvignes will! give a song recital