The sun., 1900-12-16
Az ORrHEsTRAL uATIsEr.
Ths Bosson symptom, Orchestra rlsys a.
Carnegie Hail.

The second orchestral matinee Of the Boston
symphony Orchestra wAs given In Carnegie
HILL yesterday afternoon Mr. Grricke CON
Quoted. and Mr. Franz knelsci vns the solo
vIolInl.t In the brahms u major concerto
There was an unusually large audience pros
ont and also n very enthusiastic one Mr.
Kncisel, who find. time for solo work despite
his duties a. concert master and hi4 qu1rtette
/ PLAYING, read tho noble music of Brahms
with due breadth and sentiment This artist
IL an ardent lover and champion Of "a" Brahms
music, 40 nothing less than n flushed per-
formancc could be expected from him lie
lad pla yed the concerto In BROOKLYN on Friday
! night. and perhaps played II with more free
dom than Yesterday afternoon. this QualIfcn-
tion applies To the first movement only for
In the lovely adagio-they say Brahms IL no
nolodst-and In the dashinr Magyar-llk"
finale. MIR Kncisel displayed all tho resources
of his art and brought tho work to trun-
phant conclusion. j. - q shining cnminen-
tary ON the times that this vloliust was rc-
called half dozen times and at u matin""
and after PLAYING a rccondite concerto bv an
unpopular COMPOSER In word the musical
world is moving and New York. devoted as it
is to the Wagner music-drama. can still find
admiration to express for Wasner's greatest
contemporary.
Karl Goldmark's + fiat symphony. which
opened the afternoons scheme. Is not re-
markable music: indeed, 1t Is solemn and
manufactured shoddy goods. There Ia more
thematio invention In his hrst symphony,
The Country Wedding--a symphonic suite
rather than a symphony-than In dozen
such compositions as this opus rs, Tho
composer says nothing very elaborately for
half an hour The last movement seems
Tho closest-knit and most interesting. but
that may be because II Is the last and not
the first movement OF the gorgeous color
Ing We find In the "Sakuntala" overture there
IL no trace. And 1t Is not too much TO say
that II this symphony were Goldmark's only
claim to distinction he would be the uncle OF
more celebrated nephew. Rubin Gold
marks overture. "lIiawatha." produced by
Mr.. Gericke last season at this series of con-
certs. is OF decidedly more pith and moment
Luckily for the elder man. we cannot 40 soon
forget his Queen OF Sheba." his overtures
and his first symphony In the work under
discussion the allegro presto and trio evoked
applause Yesterday II Is scherzo by Her-
lioz. out Of Mendessohn-to employ the
striking terminology Of the stud book and
1t IL utterly trivial and orchestraly obvious
The trumpet solo in the trio might have been
written Nv lIP lUl' on NItIlllI NuIliNiH ia 'l4'
OF his financial moods
Tho novelty OF the programme was an over
ture by Sergei TanoyeF to his opera, Tho
Oresteia Of .Eschylus" II is the sixth opus
Of it's composer. n pupil OF Rubinstcin
TsCha'kowsky and the editor and rovIser
Of lschaikowSky's posthumouS works.
Taney eH or Taniew-is now theory professor
NJ the Conservatory of Moscow II" has
written quar;ets PIANO pieces and an orChes-
tral suite This overture precede' hi, trilOgy
which. according "a Mr. Phlir Hale. IL in
eight scenes Mr. " + AIthorr declares
that the composition is n concert Piece based
on themes taken thercfrom 1t begins well,
is sombre, is scored after the most oiprovcd
methods Of Tschaik owsky and contains
several themes that lear n strong family
likeness To that masters own There are
also some vapd themes which are quite in
the Rubinstein manner The overture does
not impress one rs strong, original or cohe-
sive though II has dark and tragic moments
Perhaps the key to it is missing Greea
themes do not lend themselves to modern
musical treatment Even the tam-tam, the
Iiancforte-whiCh was absent and other
rul.atIlc inetruments 10 not evoke the shudder
which was the manifest intention Of the CONE
poser Liszt's twelfth piano Rhaisody, ar
ranged for orchestra by MI!ler-Bcrghaus.
closed most brilliantly a very enjoyable COM
cert