New-York tribune., 1902-04-06

of scotch instrumental and vocal music
rhursdav-N -Naldorf-Astoria. evening. concerts OF
Miss Flavie van den Hende and the Apollo Club
Fine Arts Building: $50 p m concert - % 1.4 ciIaet
Carnegie Lyceum. y m concert OF Jonh
Cheshire harbst victoria or n,,sfr RTooSyn n si5
GerarGy. ara '-'0e'
Friday-gictoria Theatre. p m, 'Boccaccio.
Saturday-Mendelssoh Hail. p m, concert by
Miss Hildegard Hoffman, and Arthur H3ch- &
mann mann KSese4 Kagere ana f eIarE W. vctoria Theatre
2ands p m Boccaccio' the Tuxed9 G In,ian n n;;
Pascal and Margaret Goetz-
The last of the Kneisel ouartet's series of cham
Der concerts viii be given next Tuesday evening at
Mendelssohn Hall at Sis O'Clock The programme
will be follows:
Sua5fet' Il1 y minor % d,9s5hTige dsnf9e Bach
ouintet planolorpe' Two 'ioiiS' ' anu cesar Franck
The pianist viii be Mr. Harold Bauer.
schubert's d minor quartet written in 1896 but
not published till after his death two years later
IS his strongest and most vital composition IN this
form, and is almost the only one OF ms qualpe'S
that survives to-day the public concert pla'-
FORM Perhaps one of the most potent influences
that have worked to this end is the llnperlshaple
heauty OF the variations Schuberts own song
.Death and the Maiden. that take the place OF 'he
slow movement in the quartet Schubert was loiu
of thus utilizing his ideas. ana scal'ereu
through his works may De loAIiu d NOt1N4--
,urher n, his songs serving as the basis of treat
r,ent through variations. Those who are interested
in noting such condolences VIII observe the aoo'
amusing similarity between the theme OF tie
scherzo with that of the Nlbelung 0ini's
theme in Ring of the Nibelung dramas ano
tetueen that of the last movement and the last
movement of Beethoven's ''Kreutzer" sonata
NJ Saint-Sagns has put himself fatty on record III
favor OF the extreme modern tendency IN music IN
of he
harmony which may be translated as follows
You know the Pastoral SYMPHONY? Remem-
Der the dance of the country fok.how, IL sr1bs 3bs
steadily into wild rout a mao rtSTlc ie s,1d
climax OF the hilarious dance everything ing i SUI SUI
8aIaouf the least preparation. pianissimo, a note
which is strange to the harmony lhls scar tI
shosoy Shadow of an angry Fare the breath Of
Fearful tremor OF the soul whleh emo no one one ges IT.
self fy our side in midst OF the merryInahin6
ncs PbUn sIe Ieaspe of cool calculation the note is
absurd, for it breaks into the tonalty ana o lLep
rupts the logical progress OF the muslcal oe'eioP
'Dsr And yet the note is simply heavenly;
In does not appeal TO the ear which wants onliy
to be fattered nor to the puny understanding when
EeomeiTieai Circles There Is something in
d which through fhe h an
and penetrates deep into the interior All music
Paraphrasing an aphorism Of stendahIs il must
be said that in music Thoegea eyer abnb music ne
offer first of all-oses the right 10 have his work
Viewed from This angle music changes its ap-
d6eTe IS new # In is no 10 longer
enough to discover what pleases the ear more or
upon the soul. to enliven the fancy and adorn it
with pictures OF an unknown and higher sphere % o5
whether this the other form OF art Is the
melody turns out to be worthless: there a sue
cession of harmonies w4thout melody has great
piIons while The most art!sticaliy worked out art
vyQr
recipe for the manufacture Of masterpieces. and
whoever lauds this the other means as leading
to the end is, in my opinion, nothing more than a
But to turn to physical pleasure: This pleasure
is something real 1t cannot be the final aim of
@eaTes Dai aronnd III m me 6eaTer mere melody
rhythmical melody. can drive an audience into
enthusiasm under certain conditions. But what
kind Of audience? An audience of persons who
themselves to appreciation OF the beauties of
harInony Ihat must be OBVIOUS TO ever! one; one
Oriental peoples and the negroes OF Africa These %
Orientals accomplished a great deal in the realms
Of melody and rhythm but harmony remained un-
and Romans are concerned all efforts to prove that
they had a knowledge Of harmony have led to the
When Stendhal says: Melody is a chief means
10 promote physical pleasure harmony second
ary,- he does not write aesthetics, but musical his
Occldental clEizaton. with the Development Of the
human intelisence- Whoever chooses TO deny
aEcients over the noderns. may negate harmony
and cling alone 10 melody. Whoever judges soundly
and justly must admit that music in a rud-
mentary condition and incapable Of development
gence has been spent in Investigating the question
whether harmony sprang out OF melody melody
are the offspring of Old Mother Nature But While
melody and cultivate il more or less harmony had
70 wait to blossom in the sunlight of the spring of
aownpour known as the Italian renaissance
mony is the product exclusively of refiection of
science; that insDiration is not necessary for its
production How, then, shall we explain the fact
that the seniuses who discover the beautiful
me!ooles are the only eooo haffnonsts? Why, for
write the -'oro supplex in Mozart's Requiem"
succession Of chords? In truth. the real artists
Invent beautiful harmonic SUGGESTIONS just as they
GO beautiful melodies by internal illumination
from internal need. without the help of science 1t
perfect asterpece is POSSIBLE only to the genius nj
waking along the mountain peaks of humanity
The appreciation of beautiful accordic success
sons is equally impossible to all except the people
He who has taste for melodies alone admits
tacitly that he does not want to take the trouble
dinate them IN order understand the whole in
he would should nof assume the resno9ibn Snf of
accusing him of intellectual incapacty. Neverthe
and sayages form the public which arrests the
progress OF the worlds by its intellectual lazi-
ness These people know perfectly well that the
highest, most aristocratic musical enjoyments are
with the pleasures that the marchpane 81. Nicholas
III Monde Artistico'' recently reprinted a letter
written by Verdi in 1863 Filppo Filipp in which
the great composer reasSertS the claim which
/. frequently made that he was not in the
-abit Of studying the compositions of other nus-
clans Evidently Filiord. who the most dis
tinguished OF Italian music critics generation
ago. had had a quarrel with Ricord; Verdis pub
Usher Verdi writes:
] know nothing about the occurrence between
you and Ricordi but IL may be that Giulio who If /
not mistaken, prefers the aria of Leonoria Cn
La Forza del Destino'D TO many other pieces was
bit grilled fo your characterization of as
imitation OF Schubert. If that is the case / am
less surprised than Giulio for living as do in
complete indifference TO music, j do not know how
aara,z is / laSf haar I'd ch,,l.u=