New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-12-11
MUSIC.
Media and the Boston Orchestra.

The Boston symphony Orchestra, under its con-
ductor Wilhelm Geric1e. is paying the second visit
OF this season TO the metropolis this week and last
night gave the first Of the three concerts which ara
10 enliven the boroughs of Manhattan and Brook
lyn in Carnegie Hall With the fine body OF artists
came Nine. Melba, who next week will conclude a
tour Of the country with a concert here that was
not contemplated when her manager laid out his
plans some months ago. That the singer has many
admirers IN New-York has long been known. as
made manifest by the attendance on the
concert. She sang her airs in q crowded audience
room and carried of the laurel wreath a popular
success which was only partly deserved from an
artistic point Of view. But touching that some
thing shall be said presently. Proper precedence
having been given to the lady in the record, a mat
ter Of greater Importance may have consideration
Mr.. GeTicke opened the concert with a symphony
IN D minor by Ernst Won Dohnanyi. the young
Hungarian musician who visited us three years
age, and introduced himself most favorably both
as pianist and composer. His pianoforte concerto
and quintet beautiful auguries of the dawn
ing OF a creative talent of q rare order and put
a keen edge on the expectations aroused by the
announcement of his symphony Those expecra-
tons were not fully realized The work is laid
on larger lines II has i've movements. inter-
mezzo being introduced between the slow
ment and the finale II is the most sententious
and best knit movement OF the FIVE, probably be-
cause the composer did not feel burdered by the
need Of celebrating its material to give it SYN
phoaic dimensions
"A sense Of such obligation rests like in
cUbus upon the other movements, especially the
first. which is cOmpages OF fragments. each ex-
plotting a conceit in rhythmical other treat
nent which has little relationship with either its
predecessor successor The effect upon
analytic listener that OF a series OF abrupt
changes and lack Of logical development. The
Instrumentation sounded crude and experimental.
though Quickened occasionally by a happy chocs
OF tone coIors in the English horns song in the
slow movement. There was ldee also in the
Scherzo but 1t sound 81 touseled in the prOclama-
until the Trio reached. when the Lisztian
voice spoke plainly that it WINS no wonder that
Mr. Gericke dropped die Ideale" out OF his
programme and instituted Mendelssohn's overture
10 a Midsummer Nights Dream instead
The movement which disclosed the greatest
amount Of continuity AMI coherency the finale
a theme with variat!..ls but this lost itself
in thefugued conclusion. To UP. Mr. DohAns:
has not yet found himself as a composer for the
orchestra
Nine. Meba also made a change in the pro-
gramme- She announced to sing the air
.'Parto, me- tn, Ben Mo" from Mozart's "Clemenza
di Tito" and Sweet Bird" from HandeIs "L'Al-
legro." Instead Of the former she sang "Zefhretu
Gusinghierf' from Mozart's "Indomeneo-" This she
sang faulty. with bad phrasing, al acrid nasal
tone in the medium register. and appreciation
Of Mozart's pretty and ingenious tonal delinea-
ton in the runs to which the word violate is set
But in the Handel air she her old and glorious
self The OLD freshness. tuvenity. loneliness and
opulence came back into her voice. and her vocal
zation was a triumph. Her singing set the hearers
wild with delight