The San Francisco call., 1903-09-23
GRAND OPERA AND SCHEEL CONCERT
APPLAUDED BY LOVERS OF MUSIC

-aHE Haydn simplicities taxed
somewhat heavily the Schee1 Sym
phony Orchestra in the symphony
II of Yesterday afternoon CNo. 5. ID
maior). The symphony was given
with the usual small orchestra, that hard
Iv seemed quite to lift to the occasion
Havdn and Mozart here after all. is
where the quality OF an orchestra most
surely tells. Not as in Brahms or Wagner,
where a note or two from the profuse-
ness of their wealth may be lost without
great hurt. every note is here inalienably
precious. In the lines of the work, few.
pure and simple. the least uncertainty is
apparent as in the light and subtle shad-
ing the smallest blur Offends. Yesterday,
though the symphony was gracefully
enough given. it's rendering lacked the es-
senttal purity of line and tone. 1t lacked
also the spontaneous quality and some
thing Of warmth and color. The finale
perhaps went most successfully, the men
by then beginning to waken to their task
But the symphony was among the least
successful efforts Of the season, as 1t Is
among the most essentially difficult
things attempted.
Yesterday afternoon saw the introduc-
ton of innovation in the shape OF a
soloist. Mr.. Otto Spamer, who made quite
furor by his playing Of the Allegro
PathetiQue from the Ernst violin con-
certo in F sharp minor. Though Mr..
Spamer Is a skillful fidler. with good,
the extreme warmth OF his reception
the extreme warmth of his hreceptiOn
Is not quite explainable and his encore to
the Ernst, a charming slow movement
In which he made a telling gift OF tone
apparent. evidenced that the Ernst ban
alties had not drawn the best from him.
and 1t is possible that in later numbers
the violinist would have lived up TO his
enthusiastic greeting. But Mr. Spamer.
while his school is evidently good one.
has not yet shown any particular distinc-
ton or unusual magnetism
The afternoon was prolific OF novelties.
chief Of them the Strauss Serenads for
thirteen instruments. The number was
productive Of much interest, 1t being the
first orchestral work Of Richard Strauss
to be given here. Those to whom the
later Strauss gives large cause Of offense
in this early product OF his pen-it is
Op. 7-professed to find much hope for
the composers future. Certainly II has
none Of the complexities of build and
harshness of discords so freely ascribed
to the later work. The influence OF the
older schools. as also that Of Wagner,
are quite apparent in the "Serenade." as
well as a peculiar piquancy that prom
ises what the later Strauss has become.
To me the work is on first hearing rather
curious than beautiful; its scoring
Strauss has taken the small orchestra
and simply eliminated all the strings but
one double bass-productive of problem
attic charm, it's melody without imme-
diate spell, it's harmOnies generally con-
ventionally effective. But there is, too.
the aforementioned characteristic flavor.
and it is quite possible the "Serenade" Of
longer acquaintance would find the ar
dent championship il has aroused where
il is among the we'll known works Mas
senets La Vierge," announced as a nov
city, was very well given here at the
Campanari symphony concert in the
spring, and yesterday was also charm
fngIy rendered under Mr.. Scheel's baton.
Thoroughly enjoyable was the Lustspiel
overture by f. N Reznicek. that closed
the programme. 1t is a delightful COM
position, picturesque in theme and treat
nent, full Of humor and mirth. 1t was
handsomely played This, with the Bee
thoven Coriolanus overture that opened
the afternoon, completed the programme.
The attendance was again encOuragtngly
large. the applause generous, IN Mr.. spa
rner's solo bOisterous.
Next Tuesdays programme includes the
Rustic Wedding symphony Of Gold
mark and the music Of "MOnteZuma
music drama), by II. j. Stewart, for the
first time. BLANCHE PARTlNGTON.