The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1904-08-13
BOSTON S0LOIST SINGS
AT SYMPHONY CONCERT,

With Miss Pauline woitmann OF Boston
as sOloist. the Exposition Orchestra rem
dercd another delightful concert yesterday
afternoon in Festival Hall. The audience
was large and appreciative. These Friday
symphony concerts are growing In popular
favor and are securing a regular attend
ance in addition to the large percentage
Of trainsients who seek admission.
Miss Woltmann has an engaging stage
appearance and sings with both finish and
fe-yor. Hers Is a contra!to voice, very
rich in tone. Her principal number was
a theme from Samson and DeliIah" by
S~aint-Saens. This has become a standard
work upon the European and American
stage and also has frequently been given
In concert form. The music Is full OF color
and has a decidedly Oriental character.
Miss Woltmann rendered this and her
other numbers in a manner wholly salts
flying.
Tn American orchestral number of the
day was The Kiss of JOY" by Johann II.
Beck Of Cleveland. o.. who Is recognized
as a prominent American composer. The
theme was developed from the poetic saga
of the elder Edda. The resulting music
has a wild character. though something Of
a metric swing. Like most compositions
thnTang ten a aos story; On the bs listener, ssisIsat u! unless
p~N ) 'b a.
vance, fails to catch the drift in any tan
gible sense. But then that is net neces-
sary.
The symphony rendition was the Sixth
Symphony in 3 minor. "'Pathetiaue." by
7. Tschaikowsky. 1t is a work of great
consequence In the world Of music and
ars, 'I rend d e at &. Pe,ersburr in fsss
under the personal direction OF the com
poser. Three weeks later the music
world was startled by the sudden death
OF fra moi YnrClr1an
As its name would indicate. its chief
suggestion is that of a brooding. all-pos-
sessing melancholy. Not always is this
expression confined to the slow cadences
which suit this theme. 1t would seem
often that the drift OF harInonies points
TO n breaking Of the clouds. to an uplift-
ing and Joyous chorusing. but always the
shadow descends again and mental
images accompanying the music ever be-
come again sad and dark.
The first movement. although marked
by many changes of tempo. nevertheless
pursues the general scheme of the sonata
form. the customary first and second
themes being stated quite distinctly. and
subsequently subjected to an elaborate
development, which In turn IS succeeded
by the orthodox recapltuiat ton and coda.
With the commencement of the main body
of the movement the principal theme is
given out by the violins and violon-
cellos. The flutes and ciarinets answer,
and then comes a luxurious development
in which the trumpets., tronbones and
luDd. anu uflaly IA uAh Souic iitU
action.
The orchestra now increases gradually
to its full strength, proceeding to a pow
erful climax, which is intensified by. an
acceleration Of the tempo. This rapidly
subsidies until the violonceilos alone give
ont an undulatiDg figure. to al accom-
paniment of sinister harmonies from the
tromboues and tuba. in their lower regis
tiers. This leads to the appearance of the
second theme proper. in the first vio,ins
and yioloncellos. over an accompaniment
from the horns and deeper wOod-winds.
The development Of this second theme
Introduces a new motive. which forthwith
is worked over at considerable length.
leading Ia turn to a temperance of the
second theme. now broadly scored. with
the strings unmufed, and gradually dying
away 20 the softest pianissimo.
The third movement, In major. al
though not the last division or this work,
is in reality in the general form and style
of a symphonic finaie-a compositions in
which Tschaikowsky gave full sway to his
extraordinary skill in both thematic de-
Velaprnent and Instrumentation.
The last move nent. in Is minor is the
movement proper of the symphony
auG the one from which undoubtedly il de-
rived its title. This remarkable compost
ton may be described briefly as consisting
Ct a passionate development of two
the first being heard at the out
set in the strings. supported by the wood
winds. The second Is the expressive nielo-
Gy given out shortly by the first violins
and violas. over a simple accompaniment
from the deeper strings and wood-winds,
reinforced by syncopated triplet puIsa- |
tioDs in the horns. The development Ct