New-York tribune., 1905-11-27
MUSIC.
Sunday Concerts.

If the people of New-York desire that their day
Of rest shall become the day of strenuous activity
on the part of the orchestral musicians they have
only TO continue 10 encourage Sunday offerings in
the way of concerts in the they did yes
terday. The New-York Symphony Orchestra gave
a concert of high order of orchestral and vocal
music in the afternoon at Carnegie Hail. under the
direction Of Walter Damrosch. 1t heard by a
fine audience, in point OF numbers and capacity for
appreciation In the evening the Metropolitan opera
concerts took their beginning and all the seats of
the vast audience room, save some in the boxes
and all the spaces II. the rear aises filed
vacancies were to be found only IN the boxes
There was jubilant assemblage at the Majestic
Theatre. where Victor Herbert and his orchestra
discoursed the kind of music admired Of the many,
and there were large audiences at other places
where vaudeville plays and dramas were presented
under the guise of sacred concerts
At a low estimate six thousand persons in New
York received edifcaton. pleasure or diversion
from public musical performances yesterday.
At the concert IN Carnegie Hall Mr.. Damrosch
brought forward some new musician orchestral
piece for strings Introduction and Allegro), by
Edward Elgar, and excerpt from Massenets
lie JongleUr de Notre Dame" sung. by Mr.. Cam
panart A monologue sung by the same gentle
man earlier In the afternoon, from Giordano' s
Andrea Chenier," had not been given before in
concert here, but had been heard when the opera
was given at the Academy of Music under Colo
mel Mapleson. The composition by Massenet,
which told the pretty legend of the Virgin Mary
and the sage brush. proved to be a delightfully."-
quaint musical conceit. surrounded with an har-
monic and instrumental atmosphere OF great ten
derness.
Both songs given in Mr.. Campanarfs al
ways satisfying style. The music by the English
composer interesting from entirely different
point OF view. In it modern Of the moderns, as
he appears in his last oratoro essayed form that
had already grown antiquated more than century
and half ago-the concerto crosse Of Handel and
the concert avec plusieurs instruments Of Bach
Tho old apparatus there-the concertino band
of strings (two >vions, viola and violonceIo) and
the accompanying ~tutti orchestra There was a
draft also on the old fugal style but it was de-
cidedly. and Interestingly, a case Of rejuvenated
old wine in rejuvenated and widened old bottles
There melodies OF modern contour. modern
harmonies and instrumental effects. all su-
perbly employed in old purpose but none the
less beautiful that account
The other numbers of the programme were
Beethoven's second symphony and Lalos ballet
suite entitled ''Namouna." The orchestra gave a
particularly good account Of itself IN the Elgar
piece, but the matter was more interesting than
the spirit in the Beethoven symphony.
With Mime. Sembrich and M Plancon enlisted
the first Metropolitan concert could not meet with
anything else than q vociferous welcome. There
was good music the programme and 1t was all
well performed, the orchestra. conducted by Nahan
Frsnko showing q large improvement over the
band OF last year Naturally, interest, affectonate
we'll as merely curious, centered in Nine Sem
brich though signs of enthusiastic approval were
also bestowed on Nine. Jacoby, NJ. Plancon and
signor Taurino Parvis who also sang Nine Sem
brich's numbers sung with all her familiar perfec-
ton were the scena 'Ernan1 involamt. from
Verdrs ''Ernani" and Arditfs waltz PARA
There were recalls, OF course; to quiet the hrst
ou+burst she added Dr. Arne's The Lass with a
Delicate Air.; after the waltz H w Parker s
''MIkmaids Song" and "Ah, non giunge This
was like the old record. but not quite so IKE as M
Plancon's 1.-TWO Grenaders' and Les Rameau1'
nfter the sir BY Adam.