New-York tribune., 1901-11-10
MUSIC.
THE BOSTON SYMPHONY ORCHESTRA.


The first visit for the season of the Boston Sym
phony Orchestra brought New-York exquisite u
sical delights The Wagner programme given at
Carnegie Hall Thursday evening was repeated
Friday at the Academy OF Music, in Brooklyn
Yesterday afternoon there was miscellaneous con-
cert in Carnegie Hall. at which Mr. Jean Gerardy
played the concerto for violoncello by Lalo which
ne introduced in America a concert OF the Phil
harmonic Society in January. 1885 Lszts Fest
klange," overture to Richard III by Robert
Volkmann. and Beethoven's seventh symphony
were the other pieces on the programme In the
size, character and enthusiasm of the audience a
survival of the interest created by the brilliant
cert OF Thursday was evident, and 1t seems more
than likely that the visiting organization is on the
threshold of season which will be the most pros
porous of the many with which it has lowered
New-York.
The overture by volkmann was given here nearly
twelve years ago ION March 1S 1890 by the Boston
Orchestra, under Mr.. Nikisch; Liszt's symphonic
poem has figured local schemes at long intervals
since 1850, when Mr. Bergman first brought it for
ward at concert OF the Philharmonic Society
There absolute novelty the programme,
therefore, but these two numbers were as good as
to yesterdays audience; the overture had been
heard only long ago that it had faded out
of memory. the symphonic poem had never made
impression enough be retained 1t is In no sense
striking composition. Its polonaise theme is COM
monplace, and its reiteration becomes tiresorne.
There is organic development, no emotional
climax and, far 1t is delineative of external
brilliantly in patches, however. and~a cap
ital vehicle for exposition Of the virtuoso CHAR
acter the Boston players especially Of the haut-
boyist The overture by Volkmann contains an
amusing musical anachronisn in the shape OF the
tune THE Campbells Are Coming, which, In the
exposition is made to masquerade as An old Eng
lish war song Composers are, of course. not to be
held to too strict an accountability in the use or
historical themes but to transplant a Scotch tune
of comparatively recent origin back to the
fifteenth century and make 1t play part in the
English War Of the Roses is scarcely yenial. Com
posers will do such things, however. But what
English tune might have been heard in 1885 for the
benefit of future composers?' asks Mr.. Philip Hale
in his notes the programme. Surely none. so far
as is known which would serve the composers pur-
poses as well as the Scotch Richard was a
generous supporter of music, but his chief concern
seems to have been with the Chapel Royal. 1t was
he who empowered John Melynek, gentleman
of his chapel 'to take and sease" for the King
'tal such singing and children being expart IN
the (said) science of music he fnde and
think sufficient and able to do (the King ser
vice" This was to be done within all places in
this our realrne as well cathedral, churches, col
leges chappels houses of religion and all other
franchsed and exempt places, elliswhere, our
College Post at wyndeso- reserved and exempt"
This refers to church singers. 1t does not appear
that Richard III was ever crookrninded enough,
however crookbacked he may have been. to i'm
press Scotch pfpers brass band Volknann'S
music is interesting but not vivid enough to keep
pace with Shakespeare's meodramatic villain. Mr.
Gerardy played entrancingly and 1t is pleasant to
reflect that he Will be with again He Is to
be the solo performer at the second concert Of the
Philharmonic Society.