New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-03-26
MUSIC.
The Philharmonic Society.

The Philharmonic Society.
The sixty-Second season OF the Philharmonic So
ciety VIII be concluded with the concert which is
10 take place in Carnegie Hall this evening DR.
Richard Strauss viii conduct the concert. and his
reception at the public rehearsal yesterday after
noon gave promise Of a repetition Of those scenes
Of enthusiasm which have marked nearly all Of the
concerts at which distinguished conductors have
exploited their talents this season. For the first
Time since he came TO our shores Dr. Strauss con-
Quoted music other than his own II MOzart's
symphony in major, universally known the
Jupiter symphony. The other numbers were the
excerpt from the last scene Of Dr. Strauss opera
'Feuersnot" arranged for concert performance. the
symphonic poem. Tod ind VerklHruug'' two
songs. "Hymnus' and ''Pilgersmorgenlied." with
orchestral accompaniment and three songs with
pianoforte. for which DIT Strauss played the
compartments. They were "IAebeshymnus."
. "Sehnsucht" and Lied des Steinklopfers" David
Bispham was the singer. and aroused much enthu-
sasm, as did also the operate excerpt-a bit Of
highly colored music which has all the hamarks
OF the Strauss manner. including a programme
which not even the most daring Of annOtators
would dare to set down for the edihcatOn Of
Philharmonic audience It is well that the passion
ate strains. effectively contrasted with the ingen-
iously scored little tune OF the fol-song order
sufficient unto themselves from a musical point Of
view. Mr.. Paur brought this music forward
Philharmonic concert two years ago. and it, as
wei as the symphonic poem which contains some
o. the composers TucSt inspirations, formed a
feature Of the recent Strauss festival The love
scene redemanded yesterday. and Mr.. Bspham
was also called 20 repeat two Of the songs. the
performances being given with great warmth and
power.
Again DR. Strauss exhibited fine gifts as a con-
ductor lie is not compelling emotional force.
like his immediate predecessor the Russian SafO-
non. nor so picturesque declaimer Of musical
ideas nor has he the easy and mastery grasp Of
detail Of wenEartner. which makes so unerringly
.s.rr- hos
SOLICITORS about euphony others who have pre-
ceded him But the technics Of the art his.
the understand him and obey. Their per-
Torrance IS his reading. and his reading IS free
from extravaganza The school I'm which he grew
up was not always averse TO high Colurs and &C
cents which seemed dragged in for the sake Of
escaping that which was customary though not
commonplace. But there no signs of these
things IN the Mozart symphony yesterday We
could have wished less metrOnOmic adherence
TO tempo. more freedom. elasticity. mobility: but
glad that he did not sacrifice the brisk.
Joyous energy Of the third movement TO the false
notion that symphonic minuet must be full of
state and ancientry like the Old dance which gave
the movement its name.
The season which comes to end this evening
has been significant and interesting The
experiment Of bringing conductors Of fame from
abroad has kept the subscribers and public on the
out vivc and. though 81 has resulted IN a
disregard o. novelties each conductor wishing
TO present at least Of his battle
horses TO public notice II has demonstrated
how vital "A factor the modern conductor is. Six
European musicians and one American have led
the orchestra-Edouard Colonne OF Paris. Gustav
Kogel Of FrankfoI. Harry J. Wood. OF London:
Victor Herbert. Of Pittsburg; Felix Weiugartncr.
OF Munich; Waslli Safonon. Of MOSCOW and Rich
ard Strauss Of Berlin. Herr Kogel conducted two
concerts with the customary public rehearEals)
and Felix WeinEar1ner two. one Of these being
outside the regular subscription. The artists who
have provided the solo attractions have teen
jacques ThiOaIId. violin: Adele Aus der one. piano
forte. Leo Schulz. viooncello; Alfred Reisenauer.
pianoforte Uwfce); Nine. SchuInann- Heink and
David Bspham. me following symphonies have
been played. Berlioz. Fantastic; Beethoven.
minor and a major. Brahms. minor; Tschaik' w
sky. + minor and "Pathetiquc". Schubert. Ia
finished: Mozart Jupiter" The following sym
phonlc poems and smaller pieces Of different forms
I.szts 'Tass5" and Les Preludos": Felix Vein
CARRIERS "Elysian Fields and king Lear. Rich
ard Strauss's TIL Eulenspiegels Merry Franks
and Deaf. and TRANSFORMATION, Victor Her
bert's Hero and Leaudcr'. Bachs suite in j,
Wagner. prelude and finale FROM Tristan und
Isolde: RimslGy- Korsako7v. "CaprCcio EspaFEoI".
Rubnsten. adagio from "A string quartet IN T;
GlaEounow. Serenade IN \. r. Strauss, scene from
"Feuersnot" The following overtures. Bizet.
"Patrie". WaFucr. Zine Faust Overture" "Lo-
hengTin' Tam hiiuser." Die MeistersinEcr''.
Beethoven 'Iseouore No g.. Weber. ''Frelschutz'':
Dvorak Carnival; Berioz ''Bonvenuto CcIIini.'
The following concertos: Lslo. IN r for violin;
Tschaikowsky. In G for panoforte. b. %. Klein,
suite for y1oloncello and orchestra Saut-Saens,
in e minor for violin; Iiszt, in A for pianuforte;
/ Beethoven. in r nat for pianofOrte The following
vocal pieces Mozart, scene and rondo. Non temer.
a1nato bene'. Saint-Saens. air from Samson ct
Dalila": Richard Strauss, songs.