New-York tribune., 1901-03-24

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FREDERICK BERGNER.
He has been a member of the Philharmonic So
cety for fifty years.
hence the title by is known in the concert
room II once enjoyed phenomenal vogue, and its
success at the first representation Of Mehuls
opera is one pretty stories Of musical history.
First the audience demanded repetition Of the
overture before the curtain permitted to rise
The demand was granted. The opera failed 10 give
satisfaction and the audience refused 10 permit II
TO be brought a conclusion; but wishing to testi-
fy again to their admiration for the composer an
repetition OF the overture was called for Al
the Paris Exposition of 1861 n grand musical festl-
val was given in the Palace of Industry, NJ which
three thousand musicians played the overture TO
lie Jeune Henri under the direction of Georges
Hainl
Schubert composed his first symphony in 1913. when
he sixteen years old and still at school IN 1914
he composed a second. in 1915 a third, and in 1916
| the one now under consideration The autograph
bears the date of April lSls its first page and
| that Of the next symphony September lSlo.' II
is therefore safely be assumed that the fourth
| symphony 10 which he himself gave the title
| Tragic. begun and ended within a few weeks
in the middle of the 1876 Save for the second
movement ana arrangement OF the Who4e Tor
! pianoforte four hands. the work remained unpub-
| lished until a few years ago, when Breitkopf and
| Hartel brought out their Complete Edition OF
Schubert's Compositions" In 1860 Herbeck gave a
concert Of the Gesellschaft der Musikfreunde in
Vienna, which he brought forward four sym
! phonic fra gments from Schuberts pen that had
| the light OF day. They the first and
second movements Of the Tragic symphony. the
scherzo Of the symphony in CNo. s. and the finale
! Of the third in D composed in 1915. The most
pronounced impression was made ny the andante
of the Tragic symphony. which ten years later
was published in by Peters simultaneously
with a four hand pianoforte arrangement of the
whole symphony. The autograph. owned by {. +.
Peters the time afterward acquired by
Nicolas Dumba. the wealthy amateur and music
patron who died recently in Vienna. who placed
II the disposal Of the editors Of the Breitkopf
and Hartel edition The autograph. which
ssts Of ninety-seven pages. resembles those Of
Schuborts ripest period in being rkably free
from eraslres and corrections The youth of sine-
teen already a quick and accurate worker.
The taste Of to-day will scarcely find a sufficient
infusion Of the tragic element IN the music 10
justify the epithet which the composer applied
IT. Pathos speaks Of the first movement, and
spirit Of lamenta ton Of the last. The andante
is soulful song in which Schubert's fondness for
the Adonic metre "a combination Of dactyls and
spondees), eloquently exemplifed in the slow
movement Of the D minor quartet, already finds
expression.
The fourth evening concert Of the Knesel Quar-
viii be given in MendelsSohn Hall Tuesday
AZ SI5 O'Clock The programme will be as follows:
0usrtet op Al So q F major sc35oann n9zars
Quintet ST. major. for piano and strings. Dvorak
In the Quintet Mr. Leopold Godowsiy. pianist
will assist. The major Quartet is the last Of
set of six written by Mozart while he living
in Vienna between the end of l7s2 and the begin
ming Of l7S5. They dedicated Haydn. in a
lcng and affectionately worded preface speaking Of
Them THE fruit Of long and toilsome abor" and
committing them father his child 10 a trust
ed friend of honor and distinction be protected
and cherished. They received by the pub
lie. however with universal acclamation. What a
pity, said a friendly critic in 1857. that Mozart
in his efforts after originality too high to the
damage Of the feeling and heart in his music His
quartets, which he has dedicated TO HAYDN
are too strong meat-and what palate can stand
that long, Prince Krazalkoviz one OF the Wen
ncse mobiles who maintained a musical establish
ment of his own. had the quartets PLAYED TO him.
and cried ont again and again the musicians that
they were playing wrong notes. and when they
showed him that they following the score as
it was written he fell into such a rage that he
tore up the music. The slow Introduction to the
{ major Quartet was a great stumbling block
musicians OF that and later time well into the
nineteenth century, account of the dissonances
ard what the theorists call cross relations in il;
great argument was made about the correctness
OF the passage. and many insisted that the alleged
disfig due typogra phical errors Not
only was this not true, but 10 modern this and
! the rest OF the Quartet sounds OF the most
expressive and beautiful of Mozart's utterances
Schumann strongly attracted to the com
I position of string quartets as early as 1s3s-hs
twenty-eighth year. Writing TO his afianced wife
he says: The piano is becoming too limited for
me; often hear in my latest compositions many
things that ] hardly explain" The three
| quartets that he published. however he did not
compose Till ls40-a year which he devoted almost
! entirely to chamber music. He wrote the set in
eight weeks. the last in five davs after shut
ting himself up and sleeping himself in the scores
or Mozart and Beethoven's quartets.
| In his Pianoforte Quintet op. ST. which dates
from the year lsss. Dvorak one of his highest
liishts IN the domain OF chamber music and one of
his most characteristic proclamations of his Bo-
| hemlan nationality. The music is full of the ma
| tioiiai Color Two of the movements written in
| forms native 10 the soil OF Bohemia The slow
| movement is dumka,' elegy OF sweet com
piaihns grievance. and in the place of the scherzo
| stdhos 1nriaht one OF the national dances of
| the country. in adopting which, Mr. Hadow re-