The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1897-05-22
CLASSICAL AND MODERN.
Contrasts of Orchestral Programme
Yesterday Afternoon.


Yesterdays matinee offered a singular
programme The instrumental part was
furnished by Haydn, Van der Stucken and
Massenet. A music festival ought to have
the same aim as an art exhibition, for in
stance the honoring of the old and the
study of the new. Instead of logically de-
veloping the gradual evolution of art-n
this case tonal art-such a programme en-
phasizes the irreconcilableness of two in
imical principles, classical and modern. To
part of the audience the Haydn symphony
seemed dry and monotonous its orchestra
ton childish and thin, and this contingent
applauded the modern because it was mod
ern. To another part of the audience the
modern things were a stumbling block
with their everlasting tremulos and chro-
matte passages, while the antique. we'll
proved models of the classic master ap-
peared to them the one thing altogether
lovely. Happiest were those unsophisticated
mortals who enjoyed the programme mere
ly because it offered such variety.
In order to understand Haydn we must
transport ourselves back into his time. If
we succeed in that we shall find that
Haydn was a modern. He did not occupy
himself with the Handel and Gluck ideas
of past days but placed before us in his
tone pictures lHe characterization OI THOSE
persons with whom he had daily and init
mate intercourse. The joys and sorrows
of his fellow-men occupied his sensitive
nature; his heart loved nature the boun-
tiful, the glorious; and with tender, loving
truthfulness he paints her for us in tone.
For this painting he made use of his palette
-the orchestra. He is the father of the
modern orchestra and symphony. His tone
coloring is richer than that of any of his
predecessors, his orchestration fuller.
Some three months ago 1 had occasion to
listen to Haydns C Major Symphony the
same work that opened yesterdays matt
nee, and L can but repeat my opinion
which l expressed at that time. AS before,
Mr.. Van der Stucken displayed particular
artistic discrimination in his reading of the
symphony. The orchestra played magnifi-
Gently under the baton of its conductor,
and L shall long remember with pleasure
the sometimes surprising liberties he took
with the tempt often in direct opposition
to conservative tradition. No man knows
any more exactly how Haydn intended
everything, but since his Interpretation
suffices to enthuse the mind and ravish the
heart, it was correctly played.
The symphonic form was never intended
as a straight-jacket in which artistic inspi-
ration should suffer confinement, but rather
that all human aspirations and emotions,
with their countless shadings and modula-
ton, should in this form find commensurate
expression-and it has room for them all.
Quite naturally Mr.. Van der Stuckens
own compositions were looked forward to
with eager anticipation. The first was his
"Pagina Amore "a heart revelation. 1t
tells US a story of love, the mystical, the
SuperSenSuouS, SenSuouS, irreSS tible love of
youth with all it's glowing longing, its rap
ture and despair, its chastity and voluptu-
BUSINESS. If we turn once again the pages
of our own heart-history we find perhaps
on one, strong, true words written by dear
friend; on another care and grief have left
their ominous chirography. Here, per-
chance, a leaf of gratitude; there, hate,
illusion, deceit; again a blackbordered
timely called before and then at last the
rose-tinted page of love. How bright are
it's lines, what letters of light build it's
text. With such single page OF love and
it's happiness a whole book full of sadness
and disappointment, suffering and failure,
is not too dearly purchased. But all that
which on these heart pages is only f1eeting-
ly sketched-just enough to give memory
a cue, and is told in full in the rushing,
tempestuous Intoxicating music. What are
poor, powerless words in comparison. The
limits of language are passed The mex
color-nuances dance before our eyes, flick
ering, elusive. Over us in mighty ebb and
flow flood the waves of emotion. Hark!
They roar! How it storms; how it Kisses
and threatens 1t is the work of Il modern,
with Instrumentation which fears no con-
ventional rule Where is the sacred ancient
form? Drowned in the flood of tears. We
are the form, we the lords in the domain
of the intellect. Well, the world belongs to
us Younger ones and we have just begun
to show what we are capable of Mr.. Van
Ger Stucken seems to be decidedly impress
sionistic in his tone-painting. What a chase
it is! The whole tonal structure is boldly
daring. 1t is the work of a gifted original
personality.
At the close of the second one of Mr.
Van der Stucken's compositions the APP
plause was of such overwhelming proper
ton that the composer was forced to re-
peat this brilliant number.
Massenet's ballet, LIE Cid, closed the
concert and furnished an excellent example
of contemporary French Instrumentation.
The composer found in the old Spanish
popular airs splendid melody-Inaterial
which he exploited for orchestra in the
most gorgeous manner.