New-York tribune., 1898-11-28
MUSIC.
pVcERT WITH EXPLANATIONS.

\ CONCERT WITH EXPLANATIONS
The beginning OF an extremely interesting ekPe'i-
mont in musical education was made by Mr.. Frank
/ Damrosch In Carnegie Hall last Saturday a''''
noon Il was the first Of what he ca''s Syinpno"'
/ Concerts for Young People. and the plan coh'ehi-
plates instruction IN the art OF listening ny "''
Of simple verbal exposions Of the music piayeo'
Mr. Damrosch h born educator. ana poSscsseS W
a high degree the knack OF fixing the attention ana
| appealing to the comprehension OF children
Whether he VIII be able to make six OF his con-
certs progressive without getting beyond the ""-
Outstanding cf the majority or the niue io,hS III
his audience questionable. Tor areauy' ~
the first concert he got Into what must nave
seemed pretty deep water to many. win MS e"-
position Of the structure Of Mcndessohns RIM
gais cave" overture But even n he trouble inc
minds Of the young AT times there will be small
damage done go long ~ he can get within taking
range of a sufficient number OF children OF larger
growth The ma iorlty OF mature music-loyers are
quite as unfamiliar with the proper way IN "hcn
20 listen to music az are their children ana u
they will but go to Carnegie Hall on these occa-
sions though they do II on plea Ike that some
times advanced 10 account for papas presence AZ
the circus Mr. Damrosch's missionary work VIII
bear good fruit.
4 more apt beginning than Mr.. Damrosch made
could scarcely be imagined. With the strings or
his orchestra he first played the Austrian national
his quartots Having played It through he turned
TO his auditors and in simple. pleasant and lucid
fashion told them what theme was Next ne
proceeded point out the construction OF 'ne
melody Illustrating he went along with phrase,
uorlcl and section emphasizing the psychological
effect Of tonic and dominant closes. each unc CIV
Ing his hearers a chance to experience FOR them-
solves the truth OF his observation. Then he ex-
pounded the nature Of variations, and directed AZ
tcnti0n the difference In style OF the four Varia
tions which Haydn gave his hymn tune exnipiu"s
the instruments. violin viola and vloionceio ana
instructng the audience how to follow the uh-
adorned theme from instrument 10 instrument ana
how 10 note the gradual accumulation or contra
puntal enbroIdories in the group. Finally ne toh
Of the sentiment OF tho words belonging 10 the
melody. and. by means Of domestic ailegory' per-
mitted the little people to hear In the variations
the different voices Of father. mother. child ana
at last congregation putting mp n prayer ror the
preservation Of the Emperor Francis. Then ne
played the movement from beginning 70 end with
ont interruption
In tho case OF the overture he presented the
composition as variations Of a short theme or motif
instead Of a complete melody. told Of It's trans
formations the relation OF parts in the formal
structure and finally to quicken the attention OF
'hs auditors built up little romance for "hlch ne
found personages, sentiments. actions ana the''re
IN the music. This allegory, though put forward
deftlv carried him into the only debatable field
opened up by the experiment. Not only ala II
involve him IN a somewhat confused metaphor me
asked his nt,le people TO hear the trampng OF sea-
horses in the curt and vigorous iteration Of the
principal subject in the development portion OF the
ovcrtureD. but IL also challenged the criticism OF
those who are inclined TO think that 1t Is unwse
10 associate an art which is not delineative in its
best estate with pictures o. the physical world
Tnquostionaby it IS right 20 appeal TO the fancy
and Imagination when expoundng the emotional
contents Of music but Il Is dangerous 70 say: This
Is what the music says" Young people can easily
be- made hypocrites sceptics by this means
hypocrites II they assent to things which they do
not hear or feel for themselves sceptics t. they
asked TO accept Interpretation to which neither
their Intelligence their feelings respond. In
such cases honest mind is brought close 20 an
attitude OF disbelief in the expressive power OF
music. All expositions OF the poetic contents OF
music ought to be put out tentatively and With
caution II can be done that seven justices
shall not take up quarrel: but 1t must be done
with an If" Wagner said:
That which music expresses is eternal and
lcVe the longing of this or the other individual.
under these or the other. circumstances, but to
passion. love. longing Itself.
And Mortz Iauptmann:
'The same music will admit Of the most varied
verbal cNpostions and OF not one OF them can II
one and contains the whole significance Of the
music. This Significance is contoined most dei-
ntely in the music Itself. Ii Is not music that Is
ambiguous. it says the same thing 70 everybody;
II speaks mankind and gives voice only to
human feelings. Ambiguity only then makes its
appearance when each person attempts to tormu-
lat. 'n his manner the emotional impression Whlcn
he has received when he attempts 10 fix and hold
the ethereal essence Of music. to utter the un-
utterauc.
\ charming feature OF the affair was the sing
ms, of haf a dozen songs 10y Nine. Emma Juch.
Her selections NJ well ~ her manner. were nicely
adjusted TO the capacities and predictions OF her
nttle auditors and she won their favor IN de-
gree that entitled her to feel proud Sne sang
Graz 11. Gafnfr
Schubort's "Ilcdserose" and three songs by Ethel-
l..rt ~