The sun., 1901-11-16

fantasy The architecture OF his poem
architectonics IL the more approved word
Is symphonic, symphonic in the hsstian
sense Three well-defned and separate
movements are linked by the familiar
device of employing the same thematio
material and subjecting 1t to varying emo
tional and intellectual treatment. This
form is elast 10. the composer may reserve
his working-out section for the last Inove-
ment or he may close a movement without
recapitulation, The utmost freedom. then,
being granted, Hausegger has not failed
into three sections: First. The Distress
Of the People Second The Enchanted
Mountain" Third, The Awakening. A
symphony minus the slow movement,
writes the commentator in his notes. This
hardly accounts for the wavering con-
tours the unconventional position OF epi-
sodes and the still more unusual endings.
For example the most pleasing movement
is the middle one. Here fantastic revel
is interrupted from time to time by broad
lyric intermesn-trios OF the scherZo, II
you will. In his handling Of this difficult
scene, for scene il II, Hausegger has not
gone to Mendelssohn, TO Berlioz or even
10 Liszt all pastm9sters OF unearthly reveis.
He has found form to paint picture
Of Kabold and Elf crcling about the dusly
depths Of the enchanted cave. And II IA
Tschaikowsky In his Manfred" sym
phony--revived last season 10y Mr.. Paur-
that is recalled We still remember the
Hall of Ahromanes, the whlsking Of hob
goblns and the dread throne of crystal.
Here il its recrldesceuCe. The form Ia
far from being symphOnically conventional.
Hausegger derives from l4ir2t and Richard
Strauss though in his musical veins runs
the blood Of Wagner. The Barbarossa
theme sounded in all three movements
is surely fashioned from the sword that
once hung in Hundings halls. And this
il no drawback to the sportaneity OF the
Young composer His taste incliues 30 the
pomp and glory that was Germanys. ho
| uses the epic tone an narratinR the people -
! needs and in the last movement positively
| marches in seVen-eague boots made by
that good old Nuremberg cobbler Hans
] SaChs-to a triumphant and CanorOus
! conclusion. With the inside OF souls ne
is not much concerned, his music runs 10
externals and charming ones. Seldom
have we heard 80 youthful a NOUN utter
such eloquent things. that Is surface elo-
u,lence The deep chords he never plucks.
A honey lyrlsn, a. "Nampled IN the
first movement. -ensuous feeling Tor thr
richer hues Of the orchestral palette, and
a certain individuality III utterance- man
ner again, not matter make Hausegger
a welcome visitor In our concert rooms.
He escapes banali'y in that most banal
of rhythms. the march, by consufnmate
cyasiOns OF conventional accumulation
And his courage in ending movement is
almost startling Listen 10 the close OF
the fir-t and he clever Juggling with tonali-
ties al the close Of the last movement.
Here Richard Strauss il momentarily
recalled bui the Older man actually leaves
one suspended In nidair when he ends Also
Sprarh Zarst hustra while his disciple
resolves us into sOnOrUu- { major. His
I,-,.iuisu recalls IA remark OF FREDERICK
Wedmore'- -Pes-imism IL only natural
10 tho,a who are -tili bowed down by the
immense responsibility ~ youth
n Ia Ntt - N
Hausegger, however. caunO' make 80 much
noise nor does be- Httcmp' to. As he IN
more lNrlc than Richard II he las his
tender mood only ~ he opening move
ment dunug short uevropm"nt section
does lac emulate the cla,h and clangor
uf -Hrldenl.heu' And A. D. not 80 CON
yiucing ar ~" hriu.- ~aifing upon hs
adyersahes Much too lengthy "Barharossa
l. q moot iut srrsi INK o. nj rlgnliicaHi work.
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