The sun., 1900-12-08
NOTABLE wrsJo yvFNr.
tivU pevscfmsses 81 Hithsrd srss"s
GIasntle aImphant. - Weto's Iife."

OF IlChafd tNauss. Iih H'N'N'p'Ut
| vas 90 he produoed-iof such works hE"
] rnsl'- dramas. are not only PLAYED hNt if"-
/ du,si De tho Philharmonic s1,"ty ~ n.
+ second psit ~ concerts. saiNe'cd larS"
I audience In Carnegie Hail YESTERDAY 8it"r-
/ noon. Tho occasion was tho rrgn'a- public
! rebs,r'1l. and Fnt, Kreislnr vus tu" 'plp
4 ,iplinl-' Nr Lnll pnrr 'Huduct"d
krs,a'er when ha last visited We ia lsss was
boy ~ i9 he IL to-day bfoad-sunlldefed.
almost q hurly young man who ilny' his
. instr imert In the most scn-uttOuH style,
. e ,irtI0sn and "A fascinating one. His num-
. l'ls ~ Max Bruoh's familiar - minor
. concerto. prd while tho work has lost none
/ og its IpOraic profile. II begins o. sound an
, t.Ilnted set 50 youthful and fiery wa' tho
Hti',k of the ART IT and - grateful II tho whit
Ing for tho solo part. that RreIsler created an
| enthusiasm startling In quality n th" usual
afternoon languldity of these concerts 10
| rcmembered He refused recall piece
until after his performance OF Iartinis
Devils Tril." which. with his own cuden2a.
vas 81 brilliant that the Young virtuosu
| was forced to return. giving IA an encore
tAs slow movement from Bach sonata.
accompanied by Mr. Henry Sohnitt upon
the organ.
kreIsier has enormous facility. Both FIN
gers and bow are quicksilver. In double
Stopping ness tho octave skips In his
tadenls-he is an adept. Except In day
yeloclties his tone Is pure. though inclined
then To become wtry and hard But thI'
may have been the fault Of bis violin. In the
rartni and Bach selections he used second
instrument and the change was noticeable
LIQUID toned was his q string In the Bach air,
and aS broad and sonorous a. 4 horn. krei--
ler's Success was ungue.tioned lie Is per-
haps q greater virtuoso than an art!-t-yet,
bit a man of magnetism and skill always.
Besides the Strauss opus. MIR. Plur con-
ducted the Egmont overture Of Beethoven
AID the Ride Of the ValkyrieI. tor the
"heldrneben. the orchestra was Increased
in numbers to about one hundred and tw"aty-
two the score calling for three large iiut"-'
one plccolo flute. three even four. obue-
one English horn, clarinet In r fiat, two
c!arincts in fat one bass clarinet, thr""
horns. five trumpet-, two IN T. fiat aud thrr"
In Is fat three trcmbonas, two tubas, On"
trmG5 and one 17 hT5stGdrn h ,nr.
and the usual strings TIA" work was com
posed In 1875 and first played ~ public under
the-Main March 3, 1899 and at, Berlin March
2?, same vear. u was, also heard at The
Lowe Z Rfh i .ptns frs!y Nr fSgsaqS ndAss My
briohy considered Il thi, feii with the Boston
was temporarily abandoned. In Germany.
where the strauss cult obtains, "A IIrro's
Life" has been a crux even t. the strauss
olators. Books have been written about its
content. aesthetic. ethical Iht, -orhiCal and
political; friends have parted and blood has
been split over this extraordinary cvangei OF
the music Of the future.
And Yet after two hearlngs--tor there was a
Te4fsS Ssa rs seems by nS ea, e
ssrlsr EorAs ,A q S,raa.s iGg iioro IS si%:
poem Thus Spake Zarathustra," and Its In
e'rumentation In "riglral'X and darinx.
d1es n2t TOP the scores a, 81 III Ln1enssnteTe
In his earlier Instrumental works strauss
followed the List B"rliol patterns; lie had
the old absolute music plan. 50 THAT form
could hardly make a new appeal TO him,
s Iess MrpTy cdnyvered esnS' magn nj
fled rondo form to lis uses; and in his opus S5.
Don Quixote." he considered tho variation
ironical and melancholic Viewpoints. Having
written an opera, "uuntram, this Munich
composer and Berlin conductor was perforCe
rather a highly modified version OF the form.
And let II be said here that for conventional
The only. clue he gives to his work is the
the most mischief. for they read into this
music every. imaginable meaning. II is
then as absolute music that the new sym.
IL not kew. at leas, notion of the emotional
Richsrd strauss has outlined the scheme q
j; The Hero; H. The Here's A9ntssGni.t. 1n S..
hma,esd m ahs The 0s% Hefo Works Of PeaSe
": The Her9,s Retirement from Worldly
II must be- rememhere1 that this is purely
arbitrary arrangement Tor IN the formal
sense the ground plsn 81 The syPmpns@ny m would
sections contain the thematic statements
the next tTo-narts four and hye,,are de-
the last IL a highly elaborate summing up
or coda Here il the symphonc form n an
attenuated shape, the CHIEF novelty being
vision of the working-out section Of new
themn'ic material in Il is cas-" modest quota
t,ons from earlier symphonic works "i strauss
There can then be no doubt as TO the identity
of the rrot}sGnst o. tnis q arRGS RiaSord sdyahony
This lattor eHtloltation of personaity need
not distress Us unnecesssaWriIN,; w wSWauss hut
of his own contemporarics-Ro the sc.l,-
tor Gabriel d'Annunzi9 IN III Fusc9 Metz
fe-sions- despite their inverted humility, and
Franz stuck. the Munich paint"r. whose .por-
trait Of his own eccentric 80, Ia not his least
powerful work. strauss might appreciativev
quote "Nalt Whitman an !, OF mlghty Man
haitian the som, as a IuSilcation oi what could
But the composer not only denes N" normal
man he shadows forth Ni"tzsCh"s .upcrnormal
humanity. tio l. a very Victor Hugo in his
colossal cgotism, vet he names II the ego "
mankind So putting aside all this welter
of philosophy and gSthetics, one Is forced 10
return 10 the music as absolute music.
Ia this particular symphony strauss hns
rnt uuit" equallod his former works. His
themes are not 80 compsl!ngly eloquent nor
has 20" proclaimed them 50 einquertly a. Ia
"/arattuStra. The hero theme Is Beet hpNe on
minus the majesty the entire section has a
RcetIuvpn color despite its diSsouantal irter-
ruptiur- while the second section. an auiable
picture u the C"nposor's adversari's, sug-
gn-ts In an Rttenuatod manner tho irony,
oariclture and hurlcs Que spirit 81 TIL Eulcn-
sregel' Hs critical opponents are repre-
scented As n sorry, suHrlinR crew, with acTid |
and acrimonious souls, duly set forth by the |
wood-wind instruments, chiefly the oboe
There t. also a horrid sounding phrase empty |
ffthS, for tenor and bass tuba. Then the |
hcro'S wife ia pictured by the solo violin, |
vnlianty played 10y the concert master, Mr.
Richard Arnold. and II must Toe confessed |
that her theme IL hanal II mounts in passion
aud interest I'm IN" duologue. After that
chaos II is but the developing of the fore !
going motives: and such an exposition. II Is
safe TO say. has never been heard since sauri-
ans roarcd In the st"aming marshes Of the |
Young ularnt or when proh istoric man met
In mulirudinous and -hrekirc combat Yet |
the web Is polyphonicaly -pun spun mag
niGcentlv
II IL too intricate to grasp at several hear
ings, though II may hc mere child play for |
the next generation. Richard Wagner must
D. la. et,.I pt T,4it -,