New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-03-24
MUSIC.
THE PHILHARMONIC SOCIETY.


At the public rehearsal for the seventh concert
this season of the Philharmonic society at ar
negie Hall yesterday afternoon Nine brema
orousad tho enthusiasm OF an audience seemingly
so completely carried captive by her Jealous oe'o-
ton to her task that 1t was wiling 10 o'eiiooA
some grievous faults in her performance
Leo Schulz tried the patience OF the sam 80
ence sadly with performance of Schufnahh
concerto for violoncello. yet did not eNHau'1 "
(such was its respect for composer ana per
former, and the orchestra played AT tne 'eeI
ming and end OF the solo proceedings 'ne
ture to "A Midsummer Nights Dream oy
deIssohn and the Ocean symphony by feuOrIi-
..,n In tho overture the horns from elfland
family blowing" were not pure IN lhtoha'oi
as they might have been. nor the raHy ioo'p
as synchronous but the shortcomings III 'le -
Torrance of this music, and also that Oh iNu
stein which have long been depioreu We"
largely compensated for by the thrilling power "
the Philbarmonic's string tone From that sihe"S
and muscular effect there Is no escape eve" ~
chronic cavaliers. The clmaxes III 'he No.
and last movements of the symphony "eio
upfting and inspiring ride on ola oce""
,a..,no b,IIows could be to a lover of the sea
grandeur. 49,, 1910
There is so much loveliness In the middle move
ment OF Schumann's concerto for Vlolonceho 'iI'''
II is NOT easy 10 pronounce condemnation on the
compostion as a whole, yet II must De sd'u tlidt
the neglect into which the work has been permitted
to fall Is not undeserved. II Is duh, unlnspreu
composition, save for the movement areauE
cepted and when 'cellists play 1t 1t may saIey DC
said that II Is solely of reverence for Schuahh
The composition. besides. is cruelty difhcuit anu
even so admirable an artist as Mr. Schulz iaiied
to make a good impression at the outset; but the
audience applauded him kindly at the end
Nine Brema sang "Che faro senZa Eurydlca
from CLICKS "Orfeo" In French with orchestra
before the concerto and four songs by S0lbert.
Brahms Bruneau and Tschaikowsky 10 pianoforte
accomplishments played by Mr.. Paur after To the
group she added Grieg's Itch Hebe dich, which
include because 1t emphasized most crassly
the fault which marred most OF her singing. Mime.
Brema Is a singer of the strenuous dramatic school
The accents which her wholesouled devotion TO
dramatic expression leads her to employ In the
drama she employs also the concert stage. The
effect is happy enough in music OF joyous char
acter. but when the deeper passions come into play
an exaggerated style results which is fatal TO
beauty in its first and simplest principles.
The arbitrary changes of voice color and tempo
and the extravaganza Of utterance In Itch liebe
dch' yesterday disconcerting. even painful
The object of such a love song could not be
envied apprehension is the only feeling with which
one might contemplate him. This fondness OF In
tensity is spelling the vocal art OF Nine Brema,
which awakened such beautiful expectations a
few years ago "J'ai perdu Euridice' Ito refer
to the version of che faro which Nine. Brema
used)-she notable triumphs in Chicks opera
during her recent French experiences-is an oper-
attic air. and an al fresco treatment of 1t might be
environment. Mime. Brema gave II as much variety
OF expression the repetitions OF the principal
melody allowed. In this she adopted Cin spirit. not
in manifestation the tradition which has prevailed
in Paris since 1889 when Mime. Viardot-Garcia re-
created the role Orpheus under the inspiring
guidance OF Berlioz. In one OF his essays on the
subject Clicks opera Berlioz has described the
IN which Viardot sang the air. difficult
conception bodied forth In each performance OF
the melody The first time she sang II slowly in
mood of restrained sorrow. After the first episode.
"Mortel silence, vane esperance. she repeated 1t
soto and pianissimo. her voice a-tremble and
choked with tears. These stanzas were sung by
her kneeng beside the body OF the dead Fury
dice: after the second adagio she rose. dashed
the scene seemingly dstraught, mad with
despair and repeated the melody with quicker
tempo and in the mood Of her action. So moving
her performance that II is said that one even
Ing as she left the stage of the Theatre Lyrique,
after the scene gentleman IN the wings fell into
her arms. and remarking. Behold fountainH'
words to that effect. burst into tears. 1t was
Charles Dickens. Mime. Bremas conception of the
air like that OF Mime. Viardot, far variety
Of sentiment in the repeated melody Is concerned,
but she uses the half voice in the last stanza and
only up to the crescendo and customary acceler-
ando. Her performance made powerful impress
sion. but 1t is be feared that only her con-
ception, but that of Nine. Viardot also. Is foreign
vocal style of the period In which the opera
composed