New-York tribune., 1905-11-13
MUSIC
The New-YorE Symphony Or
chestra.

After its first concert IN Carnegie Hall yesterday
afternoon. under the direction Of Walter Darnrosch
it is easy to believe that the New-York Symphony
Orchestra has entered upon new phase and a
new lease of life. For some years 1t has seemed
disjointed and irresolute. Occasionally 1t placed
good performance to it's credit, but the whole
its playing lacked distinction and failed to make
convincing argument support its right to exist
the need Of It's existence in the musical economy
of New-York. Yesterday 1t presented itself as a
we'll knit, homogeneous body its factors excellent
in texture their union harmonious and effectively
supplemental
The new plan resembles that long represented by
the Philharmonic Society. with its public rehearsal
preceding each concert Each programme this
season is to have two performances-one on a Sun
day afternoon the other the Tuesday evening
following The device wtdens It's field or ACTIVITY
and enarges its clientele.
The list of pieces yesterday admirably chosen
There was variety of style, but consistent dignity
It began with Brahmss symphony IN b major
which was followed by novelty which formed the
strongest kind Of contrast in every respect, but
came with such insinuating charm as to hold its
own In the memory after all over in spite OF
the antipodal numbers between which 1t was in
terposed-the symphony and LISTS second piano
forte concerto, with the solo instrument played by
the redoubtable Reisneaue-.
To make end came Rinsky-Korsakow' fan
tasticaI "Scheherezade, In which the orchestra s
new recruits IN the wind chors had ample oppor-
tunity to prove their excellent quality. The nov
city was a ravishing gem in musical mood de-
lineaton-Debussy's prelude to Stephane Nal
larrne's ecIogue, "LApres-midi dun Faune." a
translation Of flny fanciful. verbal music into
still more filny and fanciful instrumental tones.
No music with much charm as this prelude
possesses has to from France in many
years; none has come stamped with such
exquisite grace Of individuality. 1t is an exhala-
ton of beauty, q simmer. a tonal perfuma 1t
rises like feecy cloud from the orchestra, floats
about with changing hues. vanishes. but leaves
behind IL memory like itself that the I'M
agination refuses to believe it gone. and keeps on
creating it anew.
Here surely Is a order Of beauty IN music
which abhors the cult of the whole tribe OF those
who think that the noises and stenches and dis
sonances of the workaday world ought to furnish
material for musical expression. Edmund Gosse
has written down what he comedies to be the con-
tents of Mallar1ne's cryptic poem and Louis LaIoy
has Through Philip Eale) told US something OF
Debussy's music. Both descriptions deserve re-
production for the enhancement OF the pleasure OF
those who shall hear the prelude tomorrow even
ing Says Mr.. Gosse:
This is what read in it: A fauna simple. sensu-
GUS passionate being-wakens in the forest at day
peaou aaa " Was he the recipient
of an actual visit from nymphs white ana goldesn
the memory he seems retain nothing but the
apd ra GT of noes 0 from his ute? He
not tell. Yet surely there vas surely there IS an
lake that shines out yonder! Were they, are they.
swans! Mol but naiadS pIunging! PernapS! Naguer
and vaguer grows the impression OF this delicious
experience He would resign his woodland godship
TO retain it. A garden of lilies, golden-headeo;
white-staIked behind trelis of red roses? Ahl
the effort Is too great for his poor brain Perhaps
If he selects lily from the garth of lilies one
benign and benecent yielder of her cup 10 thirsty
lips, the memory, the ever recedins memory, may
be forced back. So, when he has glutted upon g.
bunch of grapes he Is wont Ito toss the empty
skins into the air and blow them out in visionary
greediness. But no: the delicious hour grows
vaguer; experience dream, he viii never know
which IT The is warm, the grass is
shipping the effcacious star of wine that he may
pursue the dubious ecstasy into the more hopeful
boskages as sleep.
And Laloy:
One is Immediately transported into a better
world: all that is leering and savage in the snub-
nosed face Of the faun disappears; desire still
speaks, but there is veil OF tenderness and mel
call of the horns the limpid flood of harp tones
accentuate this impression. The call is louder,
more urgent, but it almost Immediately dies away
TO let the flute sing again its song. And the
has its say; lively dialogue follows clarinet
phrase leads to new theme, which speaks of de-
sire satisfied 1t expresses the rapture of mutual
emotion rather than ferocity Of victory. The first
nIuted horns darkens the horizon The theme comes
and goes fresh chords unfold themselves at last a
solo cello joins itself to the flute; then everything
yanishes mist that rises in the air and scatters
itself in flakes.
Debussy's music dellciousTy played Mr.
Damrosch conducting It with obvious sympathy
and affection. AS for the rest, only remains TO
mention that Mr. Reisenauer repeated the colossal
triumph which he made at his first appearance in
New-York IN the work at a Philharmonic
concert two years ago.