New-York tribune., 1905-02-12


They will give concert
Copyright, 1905 BY
in Paris and Georg HenscheI in London. She
recently arrived in this city from San Fran
CISCO where she was prominent in musical cir
cleS.
Herr Wengartner has contributed article
to the "Allgemeine Musik-Zeitung" entitled
Brahms" In which he withdraws some of the
harsh sayings which he has uttered and written
in the past concerning Brahms. That he has
modified his opinions is a welcome change of
front, for he frankly tells US that he was preju-
diced to a large extent against the Hamburg
master owing to the attempt of the anti-Wag-
ner party to set up Brahms in opposition to
Wagner; also to Bulow placing his name in
such close juxtapostion to that of Bach and of
Beethoven. In now expressing favorable views
regarding Brahns's orchestraton Herr Vein
gartner draws picture of modern scores which,
IL somewhat exaggerated-as, indeed, all satire
of the kind must be If it is to strike hOme-car-
ries with 1t a wise word of warning to rising
composers. He is referring to the charge
against Brahms that his scoring is bad when he
says:
Does not sound we'll? Why? Because it is
not Tristanlike and also has no Queen Nab
iavorP He scores badly! Perhaps just because
his scores differ from WaSner's those Of
modern orchestral fireworks? Now let us for
y,
what Is our so highly yaunted Instrumentation,
which has made SUcn @ notable advance that one
can scarcely see the music for the scoring. Let
us open number of new scores After we have
impressed on our memory the title. and in many
cases the programme. we find as a first common
fcature-after the pattern of the "Nibelungen"
scores-a special page. with q detailed list of
the numerous orchestral instruments required,
and as many as possible to each class; second,
corresponding to it, a huge number of slaves.
so that the score looks as if one had to climb up
and down ladder to be able to see all that is
going on; third, complicated divisions at every
moment OF the string quintet; fourth, one harp
glissando after another; fifth, many
stopped notes in the horns and trumpets; sixth,
strong and frequently unintermittent OF
toneless instruments Of percussion. producing
mere noise; seventh a marked tendency to carry
up all instruments into their highest registers.
where they no longer give out tone, but shrill
scraping, sQueaking and whistlng; and, eighth
and finally the working up of all of these clangs
into wild tumult which admits of no musical
articulation because it is simply Internal
hubbub in which it does not matter straw
what is played.-Uondon Musical Times.
Two interesting centennial anniversaries will
fall within the present year Or March it
will be one hundred years since the first per-
formance OF Beethoven's "Eroica" symphony.
and November 20 the same length of time
since 'F'idelio" first saw the light.
Programme OF the Mendelssohn Trio Club at
the Hotel Majestic. Tuesday, at p. m:
sSasta soas eEs fSE yS0 coeo oaf UbBG 2R
ITO op AVV- Schubert
Is} Traum durch die Dammerung' .......... Strauss
30 VIE Elm Grussen Mehkens
Miss Bessie Bonsan will be the solo performer
Ysaye viii give a recital Monday evening at
Carnegie Hail. with the New-York Symphony
Orchestra. The programme:
Concert Overture .Cherubin
Concerto violin. with orchestra major. op 81
is Anoante Tsehaikowslly
y" 'ie
symphony EspagnOle with orchestra Ialo
Faust Fantase with orchestra. wieniawsk
With the first public Ne%-York performance
OF Dvorak's "Stabat Mater" and the first Amer
lean hearing Of Richard Strauss's choral ballad,
"Taillefer." set for its concert of March IA the
Oratorio Society's list of novelties given win
reach twenty seven, out of n total repertory of
sixty-odd works extending over thrty-two
years The society has been especially active
lately in bringing out important new or unfa-
miliar music. the most recent being Bach's great
minor mass and Elgar's Dream of Gerontius'
and THE Apostles" The earlier list of first per-
formances includes the Berlioz Requiem Mass,
"Damnation of Faust" and Romeo and Juliet"
Brahmss German Requiem. Leopold Dam
roschs "Sulasmith.' Walter Damrosch's Scar
let Letter" and Manila TIE Deum." GrePs
schel's "Stabat Mater" Liszts "Christus" Par
ker's st. Christopher" Rubinstein's Tower of
Babel Saint-Saenss Samson and Delilah"
TinePs st. Francis of Assist" Tschaikowsky's
Pater Noster'' and Wagner's "Parsfal"
The Oratorio Society is working hard on the
Dvorak "Stabat Mater" and the Strauss "TaiIe-
fer, under direction of Frank Damrosch The
Strauss work, which published less than
two years ago. is setting OF Uhlands ballad,
and includes an orchestral description of the
Battle of Hastings This complex modern score
will necesstate an orchestra of 102 men for this
concert, to be given Tuesday evening. March IA.
The fourth concert of the Russian Symphony
Socety on Saturday. February 25. has been ar
ranged by the conductor, Modest AItschuler
with @ view to presenting a programme OF
novelties which are most characteristic of the
| national tendencies of the young Russian school
Besides Kaiinninkon's Symphony In C minor
| the programme contains Musorgskrs 'IShowan-
sohina.' popular music drama in five acts II
was written in 1880. but rejected by the rnusioo
theatrical committee of the Imperial Opera
House OF st. Petersburg too radical" After
lying idle for half a decade the opera was nro
duced In February. 1886. by the "dramatieo.
musical circle OF amateurs. The final ARRANGE
ments OF the unfinished score for public per-