New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-02-10

cended the mountain 20 pray Mary sits IN the
tower at Magdala with contrite heart In the midst
Of her prayers visions OF her Old lie OF luxury and
sin come into her Mid. What is only q memory
70 her we hear IN a fantasia for orchestra and
chorus-a piece OF vouptuous music CT ORR
entail color. on this follows the storm. which Dr..
Cigars fervid fancy and fecund skill have Illus
trated with startling vvidaess and equally startling
originality.
But We cannot go on. To convey a complete idea
Of how Or. Elgar has built up his work its every
paEe would reed 70 be analysed. and then would
core the Cngraclous duty OF blending with praise
Tor great and moving beauties much doubt the
artistic value OF many pages in the scOre Il is not
often that the effect OF spontaneity is borne in on
the hearers attention. The thought that is too
frequently uppernost is that the invention OF the
themes and their employment have been the work
OF reflection. We cannot always recognize the
qualities in the representative themes which Wag-
ner has taUpft THAI musical symbols OF dra-
matte and ethical principles and agencies ought TO
have. We cannot always see the need OF the So
called leading motives We cannot understand why
Mary NagdGlene who invokes sympathy.
should be characterized by a harmonic progression
which oIends the sophisticated sense OF
beauty prevalent to-day. These things used to be
as wicked stealing: then they became merely
painful; they are enthusiastically poig-
nant' and mystical We do not know how to
associate the concept OF Judgment with a passage
Of descending fourths like that in which Segfrled
and Rrunnhilde pour out the ecstasy of their pas
sion In wagners 'Siegfried" and Kundry desper-
atey plies her sedUctions ia "ParsifaL" Dr.. ElSar
has written a marvellous score. He wrote II sin
cerely and obviously without regard for It's fate
il is the most individual utterance yet heard In
England. We admire all that appears ad-
uirabie now thrice admirable and with a heart
fun OF Teverent gratitude; patiently wait TIL
the pages which give pause now shall also dis
close their beauties. Without doubt the time Will
come.
Sufficient unto this day must be this insufficient
description anc estimate Of the composition. Its
performance put a severe strain on AR. Damrosch's
forces. but they OF the ordeal with credit
II oSclves and 70 him Cruelty difficult much OF
tho music is with its unusual intervallc success
siors its abundance OF chromatics. Its want OF
conventional tonality. But there were few places
il which the nearer was left cropping for the CON-
poser's letter whatever doubt there may have been
about the spirit Of his work ny Damrosch had
evidently taken wholly into his heart as
well as his head. and conducted with freedom and
authority. The muScianly qualities Of the solo
singerS-Mrs Sharna Cumming. Mss Janet Spen-
CO. David BispbGEa. Gwilym Niles. Edward John
so- and Frederick Whccler-had more striking eK-
position than the sensUous charm of their voices.
though this also "a evidence. OF transporting
erect was the tone OF the small choir from the
Musical Art Society IN the celestial alleluisS