New-York tribune., 1901-11-16
MUSIC.
THE PHILHARMONIC SOCIETY.

THE fti1Lt1ARMONiC SOSiEi
The Philharmonic Society of New-York, having
closed an honorable record of ffty-nine years last
spring, yesterday opened its sixtieth season in
manner that spoke of undaunted faith, heightened
aspirations, revivifed zeal and refreshed ambition
The programme eXemplifed the purposes of the
society admirably. Its opening numbers showed
respect for what has long been conceded to be its
compositions which the judgment and taste of the
cultured world have admitted to the first rank Its
concluding number gave hearing to a new work
which had been found be OF striking character.
Weber's overture 10 ''Euryanthe' opened the list
and followed by the Bach-Abert Prelude.
Chorae and Fugue." which has been a recurrent
feature of the Philharmonic schemes for many
years. Then came Rubinsteins pianeforte concerto
in D minor (the solo part played by Josef Hof-
MANN, and, finally. the novelty, symphony or
symphonic poem, in three parts. entitled "Bar5a-
rossa." by Siegmund Won Hausegger. Naturally
enough. the chief interest this work. which
is making considerable noise. literally and fgura-
lively. in Germany just now. After having been
played in Munich and Berlin under the composers
direction last season. 1t put upon the first pro-
gramme of the first Gewandhaus concert in Leipsic
by Mr.. Nikisch a few weeks ago Until the advent
of Mr.. Nkisch Leipsic was the strongest bulwark
of musical conservatism in the world II used to be
amusing TO read of first performances in the
Gewandhaus of works which had figured in Amert
schemes for ten fifteen years. Mr.. Nikisch
has wrought a great change in the spirit OF the
evoked loud chorus of approval in Lepsic S
it did when performed before the Wagner congre-
cation in Berlin.
Tho Tribune discussed the composer and the
structure of his work at considerable length last
Sunday. It is interesting from purely musical
point OF view, and interesting also a sign OF the
times. Critics who find artistic virtue in
the so-called cyclic forms, and who indulge in
strange and illogical fancies concerning the potency
Of symphonic poems. will be rather hard put to II
fO there N
movements marks essential advance Schu-
manns Overture, ScherZo and Finale for in
stance Both symphonies minus the slow move
ment- If the devotee OF Liszt finds artistic obliq-
uity in the pause5 which separate the parts OF
symphony, he ought TO discover downright vicious
ness in the disneulberment Of a symphonic poem
Perhaps, after all. the talk about the inutiity of
the cyclic forms vehicles for modern thought
and feeling in music has been hasty and i'll in
formed The old lines have been shifted about
ana concealed more or less successfully. but they
have not been obliterated. and If they should soon
begin again TO assume their odtme rigdity in the
works of the young German radicals it would not
be very surprising. AS for the argument. based
upon the greater compactness and conciseness of
the form. that lost its validity as soon as the
symphonic poems in one movement began to stretch
out TO the length of symphonies in four.
Herr Hausegger found difficulty in presenting
poetical conceit (or dramatic, if you will have
1t sol in three disconnected movements instead OF
one. and yet preserving organic unity From
musical point OF view he associated the move
ments together by utilizing the same thematic ma
terial in all the movements. One of these themes
he makes symbol of the hero; others delneate
conditions and feelings still others the external
pictures of the story which he laid down as the
poeticaI foundation of the pieces-the sights and
sounds which surround the sleeping figure in the
enchanted mountain. The first movement tells of
the distress of the people. their surernAs aspira-
tions longings in it the symbol Of the old EN-
Of bie aeic SIeA
deliver them is presented as a feetng vision. The
second movement presents the hero asleep, the
centre of a supernatural rout. In the third move
ment the publication of the peoples Presumed
in the Introductory gives place to a proclamation
of the advent Of the hero. his struggle and tri-
ment of the Barbarossa theme into puissant
march. Up to the moment which ushers in the
apotheos:s. however. the transfigured heroic theme
is surrounded and its straightforward harmones
blurred by the admixture of the woful sounds of
the first movement. But exalted mood per-
vades the close, achieved in Richard Strauss's
''Heldenleben, by the simple device of a sonorous
and euphonious orchestration of old fashioned
triads which fall like benisons upon the Strip
the scheme which has been suggested of the
ternals of the story. the poetic content of
''Barbarossa'' resolves itself into the poetic
tent of many another symphony, sonata and SYM
phonic poem-the struggle of the soul against in
imcal agencies and surroundings. and the final
achleVement OF rest and happiness, from darkness
to light. from painful discord TO restfui harmony
1t might be wished that the composers of the
ultra school of to-day would not accept the last
definition literally they do; but of that anon
Beethoven presented the problem and its solution
in its highest and purest artistic conception in his
fifth symphony. 1t would not be reverential to
Beethoven nor respectful to Herr Won Hausegger 10
compare the two works. They have this in com
mon. and this only-they are troublous in c minor
at the outset and martialy triumphant in c major
at the outcone-but far the ideal transcends
ger-and let inhnitude furnish the unit of measure
ment.
Yet "Barbarossa' a great musical achieve
ment. a marvellous example Of musical skill.
superb Illustration of what strong and vivid
fancy accomplish with the materials of must
cal composition. Its dissonances frequently
painful and appalling, it's treatment of the iustru-
mental voices tyrannous. Materialism is rampant
in it, and the artistic principles which it illustrates
are sometimes not whit higher than those which
influenced the writer's of descriptive music in the
childhood of the instrumental art But ever and
anon there comes a burst of wonderfully eloquent
and expressive music, which. perhaps is all the
more eloquent and expressive because 1t comes
after much painful and irritating striving ex-
pressed in instrumental polyglot-
The Interpretation o. Hausegger's work. and. in
deed all the playing of the orchestra yesterday.
was plane that the Philharmonic Society
reaches only when it and Mr.. Paur full of the
zeal which its position and mission inspire 1t
splendidly eloquent and convincing from first to
la andN Mr. Hof nuf hfe fba