New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-03-18
MUSIC.
THE MUSICAL ART SOCIETY.

There were no signs OF waning merit In the CON
cert given by the Musical Art Society at Carnegie
Hall last night, and the entertainment was one OF
the most delightful that the society has yet put
to its credit The size and enthusiasm OF tho au.
dlcnce also told OF Wide and sincere interest In thu
society and its beautiful mission. so that II Is
possible close the record Of It's fifth season with
expression Of praise and congratulation and an
eager anticipatory look forward Into the future.
Evidently the society has come TO stay, ana mas
much as II Is said that It's activities next
year will be the award OF handsome prize for
the best composition in the serious style OF music
which II cultyates. II is likely 10 be a quckener
OF taste beyond the limits Of local circles. No
will rejoice than the best class or composers
resident in our country to have their minds turned
I'm practical way to style OF music which Is as
exalted in the field OF vocal music as chamber
pieces are In the domain OF the Instrumental art. 3
According to the formula which has prevailed IN
previous seasons. the first part OF last nights pro-
gramme set apart 70 church music most u
which appropriate to the Lenten season.
First there came the pentential psalm. DE Pro-
funds" MS set by Orlando III Lasso; then in simple
but effective harmony Supplied by DR. BUrney). tho
ffteenth-century hymn, ALA Trinita"; next, two
motnts by Vittoria. 20 vos omnes" and "Tenebra
fact9 STUNT" This was all the representation given
TO the medieval composers. but from the music u
the Russian Church. which is also unaccompanled,
there was A missal number. called the "Cherublc
Hymn of Praise In the liturgy attributed 10 s..
John Chrysostom. composed by Bortniausky G75l-
1888 TO whom more than TO any other musician
IL due the regeneration and establishment Of tho
music OF the Greek Church in Russia This. Ike
the hfteenth-century hymn. was marked by ex-
IRENE simplicity but great elevation 81 feeling and
the two numbers served excellent purpose in
affordng restfu contrasts 70 the earned measure,
OF the old contrapuntists. III Lasso and Vlttoria
After the Russian number there came setting
which employed the devices OF atter-day harmony
and olS Of nv
Gottfried Won Keller. .ntitied Evening on Col
gotha," by unidentified composer named 4. Won
Othegraven. whom the commentator OF the pro-
grammc suspects from internal evidence 70 he q
composer Of tho Swiss school. The poem describes
n fancied scene Calvary Immediately after tho
death OF the Crucifed One. The sacred head with
its crown OF thorns has just fallen forward IN
death. and the white shoulder OF the Lord gllstens
I'm the dewy twilight. AT the moment night-moth
CPhaanc) settles to rest the spot that had
borne weight Of the Cross. slowly opens and
closes its velvety wings for q moment. then flies
off through the night. Yet the Redeemer not
left alone. for the loot OF the cross clineing
the cruel wood was the woman whom He had
atcd 10 be His mother. Not only the mood Of the
poem. bu, also its incidents. reproduced with
affecting eloquence in the music. II was the frs,
time that Mr.. Frank Damrosch. the director ~
the society. had ventured upon a modern compost
ton with orchestral accOmpa piment and the work
partly because Of the strong contrast which IL
offered with all that mad preceded II. partly pc
cause OF it's Independent beauty. made profound
impression.
Between the first part OF the programme and tho
thr> orchestra of forty-four violins. yioas.
vloloncellcs and BASES played an arrangement by
Bachrch, Of Vienna. OF the second of Handels
concerti grossi with charming minuet interpo-
lated from the same composers fifth concerto.
Handels concerti grossi are written to obtain
antlphonal effects between n small group Of solo
instruments called the ConcertinO) and the main
band. which is not 10 bc thought of as an accom-
panyng body. but Of independent dignity
and efficiency in the development OF the themes in
the music. Professor Bachrich's arrangement OF
the concerto in f. with its four groups OF volins
and the complementary groups Of vioas v!oon-
cellos and BASES yielded sorority that POSI-
lively electrfyiHg times, and the archaic work
became wonderfully fresh and stimulating. Tho
third part OF the programme comprised religious
part-song. Itch will ditch lieben. meme Krone" by
Cornelius; two Russian Pari-sOngs. by Cesar Cut
and four Of the most bewitchiEg vocal 4rartets
with panoforte accom- panlment imaginablez-the
Gypsy Songs. op. liz. Of Brahms II is hot Tzgane
blood that through them-happy. riotous.
cfpie tar