New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-02-19
MUSIC.
The Boston Symphony Orchestra.

~Df~ft - y tfA lSftEttV ~ effN''- -
The fourth concert for this season & the Boston
symphony Orchestra, which took place IN Carnegie
han last night. deserves red letter Cor 4 black
mark) IN the annals OF music IN Sey-Ycrk as be-
ing the occasion on which Richard Strauss Don
Qulxote" had its first performance IN New-Tork.
The incident invites 20 more extended discussion
1Ian Time, and, Il may a % frankly be confessed.
mood, allows at present. Don Quxote' IS either
a wonderfully great musical composition or It IS
music gone mad It would be rash 20 attempt 20
make pronouncement on either point on the spur
or the moment inasmuch as whichever view IS
taken discussion Of large and significant princi-
pies would have to precede fits intelligent prcsenta-
uon- There are boundaries to every art beyond
which II cannot go without sacrificing something
OF that which makes Il an expression Of the beau
uful. But in the hux and change Of things char
acterlsuC OF the present time ell boundaries. and
even foundations seem to be shifting. There seems
20 be vast delight IN Juggling with the and
oo)ectives large enjoyment IN observing exchange
and Interchange Of functions.
once upon time the fancy was pleasantly
stirred BY the sound OF patterng raindrops on the
Foor or the singing OF the wind through the trees
and the emotions. too. were powerfully quiCkened
through association Of ideas and awakened mem
cries But natural phenomena entered into music
only through suggestion and deIneation OF feel
ings aroused by them. Now We are asked TO recog-
nize realistic mimicry OF the rude sounds them
selves high art
The wind can whistle through a knot hole with
with all his Ingenious use OF orchestral devices
supplemented by a theatrical wind machine. and
the scraggicst flock Of sheep that ever starved on
the barren hills OF Maine can bIeat more success
rully than Mr.. Strauss musicians with all their
framing under the palnstaztng care and skill OF
Mr. Ger1ckos but that fact does not seem TO enter
into the case. Music, unless Mr. Strauss Is wrong,
IS become uncompromisfngly devoted to deIineGdon
OF whatever Il can suggest by the use OF sounds
plus verbal o written account OF the composers
q ~ @
priety and limitations have been waited
away the wings OF his grist mill and
BY the blasts Of his wind machine We can
not praise for the same reason that we can
not condemn We ourselves blown out TO
by the audacity OF his effort and its success
There f. fascination. for the intellect at least II
not for the emotions. in his scheme. lie cOnCeives
the idea Of making music tell Us OF the story OF
Don Quixote. the Authorizations which filled his
mind. the misfortunes into which those halucua-
uons led him. the essential loneliness OF his ideals
ana his pathetic awakening at the moment OF bod
lily dissolution: al this through instrumental music
aided by a programme. And he adopts a plan
fascinating IN It's ingenuity. and containing within
itself great poetical well musical p0tencies
u is the variation form. form which he dscloses
20 be effcacious FOR caricature as Beethoven
had shown IL 20 be FOR TRANSPORTATION. He inveuts
a group OF symbols. which have IN themselves the
merit Of characteristic expression-a melodic sym
Dol OF chivalry which he permits to stand for the
knight Of La Mancha; OK galIantry. which means
also Dulcinea del Tob0so: OF mental confusion
which, by a species Of analogy, comprehensive only
20 the musicaIy educated can be associated with a
singular succession Of harmonles- He mixes all
these things and many more. up by strange per
version Of an artistic device which used 70 be po-
lyphouy. draws over the tonal fabric veil OF tones
made mystical and mysterious by changing the
voices Of his brass instruments aud-tho knight has
muadled his brains. IS mad and starts out on his
woful adventures
These are described IN series OF variations or
tho themes coIorcd and accontuated at the catas-
trophlc moments with deIlueatye devices as lofty
as those which were made familiar 10 our grand
mothers by pieces like The Battle OF Prague
Hut the imaginative power 81 the composer. his
lututire Ingenuity. his knowledge % the mode Of
thought pursued by the multitude. are amazing ana
while tastes and judgment condemn. Intellect ana
che fancy ara carried captive. and SO non
Cuixots' held the attention OF a numerous au-eics
last night and called out prolonged applause
strauss'B work took tho place OF the customary
solo performance al the concert and more th1h u''
g. Il was followed by Cesar Francks 'Chasstur
rraudft" which Mr. Thomas brought forward here
I'm Narct Isgs-au essentially more poetic. u less
irritating and fascinating. composition. lheh tL7
concert which began brilliantly with SmetanA g
.partcred Bride overture. ended with Beethoven s
esveuth svnphony, Of which tho Philharmonic So
risr,- had given US noble performance as late as
last Saturday night. Mr.. Gericks and his men were
81, gtrtuoso mood The conductor had spent marvel
Ions mains to lay hare the web and wo'l or
strauss composition. and gave us wonderfully
lucid and brilliant results. possibly 20 the s@eFA1e
81 Thing in the score which were not designed 10
he beautiful