New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-12-30
MUSIC.


1t is evident that the extremes in music will
soon touch each other Four years ago the
international jury at the Paris Exposition was
called upon TO observe that the luthiers of
France turning their attention toward old
types of instruments and reproducing instruments
which had fallen into desuetude before the
nineteenth century had begun. short time
before the leading French panoforte makers had
begun the reproduction of acknowledgements
Of the modern instrument, which had been voted
hopeessly antiquated Now we hear of concerts in
Germany and France in which the music of two
centuries or so is not only revived. but is
played upon the instruments for which it COM
posed. and the concerts are not given as
antiquarian curiosites but for the serious en-
joyment of their beauty In England they
have been more or less private affairs, but
In Germany a former lawyer is singing
folksongs of the fifteenth and sixteenth CEN
turtles in public to his own accompaniment
the Lutte; and in France with the cordial approba-
ton Of no less composer than Camille salntSaens.
an archaic concert company, called LA Societs de
Concerts d'Instruments Anciens" is accompanying
Yvette Guilbert (who has taken to the singing of
folk-songs) and performing music for the viola
damour, viol da gambia. quinton three-stringed
contra bass and harpSichord. In Munich, the Or
chester Verein. which was century old recently.
gave a concert at which music from Carissimi's
''Jeptha,' Rousseau's 'Devin du Village" and
Paisiello's "Barbiere di Sivglia'' perforrnd.
These things interesting suggestive OF
return to saner and healthier notions Of beauty
than are illustrated in the compositions of the
extreme modern class in which loneliness, and
Elasticity OF theme are as naught compared with
treatment: and they were brought to mind last
night when MIR. Sam Frankie gave the first OF his
concerts of old music for this season. He has
moved the scenes of his activities from the new
Iyceun Theatre to Mendelssohn Hail. much to the
betterment of the acoustic effect, though at soma
loss of picturesque accessories. The presence of
an organ in the hall enabled Mr.. Franko to present
one of the most interesting novelties that he mas yet
brought forWard-a fantasia which Mozart wrote
for an automatic organ. but which is of striking
loneliness OF melody, boldneSs Of harmony ana IN
genuity of treatment Mr.. Frankie gave 1t in a
TRANSCRIPTION for grand organ and strings MADE
by Aots Schitt and in this form, at least, 1t Is
deserving of a wide acquaintance Ii is quite Dig
nifed enough for symphony concert, ana MI.
Frankie and his men Charles Gilbert Spross at
the organ) did II honor with an eloquent anu
convincing performance. The next novelty diver
timento supposed to depict the Conflict OF human
Passions by Won Dittersdorf, who lives chiefly IN
a string quartet was far less interesting, though
pleasantly naive and pretty in its unyarytng uneful-
ness Mr. Hekking showed singular taste In his cholce
of violoneelo solos ian andante from concerto
by Bernhard Romberg and a rondo by BoccherinD,
but he played much moro satisfactorily than at
the second Philharmonic concert, and with brill
fancy which was dimmed only by some slips in
cadenza A. prelude TO an oratorio by Hasse and an
unfamiliar but fine symphony in z fat, by Haydn.
were the other offerings the list. The attitude
OF the audience toward the music plainly indicated
approval of the change of place, and the concert
was one Of the most finished that Mr.. Frankie has
yet given