New-York tribune., 1905-03-04
MUSIC.
The Philharmonic Society.

When Mr.. Kogel came to conduct the first con-
cert of the Philharmonic Society he persuaded the
directors to put Tschaikowsky's fourth symphony
on the programme. When Mr. Safonon came he.
the directors and Gt is only fair to say) the pub
lie also wanted the sixth symphony of the
Russian master. They got 1t. and also Romeo and
Juliet" Now comes Mr.. Panzner. of Bremen, 10
conduct the seventh concert the public rehearsal
for which took place yesterday afternoon and 10!
we have the fifth symphony the list Meanwhile
Mr. kreisler has played the violin concerto at
Philharmonic concert Mr. Walter Damrosch, with
his Symphony Orchestra. has given the public
the sixth symphony and The Tempest" and the
Russian symphony Society has treated its patrons
to the third symphony a movement from the Nut
Cracker suite, the Battle of Potowa" and
Hopak from the opera 'TMazeppa' the Boston
Symphony Orchestra has played the italian
Caprice" and Professor Hess and his chamber
music players from the same organization have per-
formed the quartet in F major The Manfred
symphony and also the fat pianoforte concerto
were under consideration by the Philharmonic di-
rectors at the beginning of the season, but wise
counsel prevailed and they stricken from the
list Out of six conductors. three demanded the
privilege Of conducting a Tschaikowsky SYM
Phony. They Kogel Safonon and the
visitor from Bremen whose acquaintance
the patrons of the society made yesterday The
reason is not far to seek 1t is comparatively easy
to make popular hit with the lurid elements
which light up the Russian romanticists music.
Analysts and critics may complain of a want OF
form and laxity of logic in the last three SYM
phonies of Tschaikowsky. but in their clmaxes
they throb and glow with something that is akin
at least TO passion. and that takes hold Of the
senses, fancy and feelings of the hearers with ele
mental power. Even Philharmonic audiences like
sensation, and for two seasons have seen that
even the eminent men who have come to us from
abroad have been eager to feed the desire. Hence
We have had a surfeit Of Tschaikowsky's al fresco
music and it is not at all unlikely that others
besides nd haV
dering whether not the Russian is really as
great as his fame would seem TO indicate
Mr. Panzner's success in stirring up the enthusi-
asm Of his audience was not great as that Of his
predecessors, but that was probably due more
less TO the differences between the three symphonies
There is growing conviction in many musical
minds that the climax of Tschaikowsky's powers
was reached in the fifth symphony rather than the
sixth; but the serene beauty OF the slow movement
of the fifth. which has the hearts of the
connoisseurs. does not count for much the
sensationalsm Of the march movement in the sixth
with listeners who excitement. There is
enough barbarc rudeness in the finale Of the fifth,
with its thrilingly propusive reiteration OF bass
motivi, TO set the nerves of the listeners a
tingling, but Mr.. Kogel worked out the finale Of
the T minor symphony into a wilder and more
picturesque tonaI riot than Mr.. Panzner did his
finale yesterday. He achieved a fine climax. indeed
Though not fine later in the finale Of
Wagners Tristan und IsoldeD. but its spirit did not
make Indifferent TO detail as did Kogels madly
boisterous gayety The deficiencies of the wind choirs
in respect of intonaton were kept before the notice
all afternoon, partly because much of the music
compelled attention to this feature. partly be-
cause Mr.. Panzner seemed unwilling always to
sacrifice particulars to the general effect. Yet 1T
admirable performance Of the symphony
and the audience was warmly responsive. In the
overture to "Euryanthe' and the prelude and
finale from Tristan und Isolde we had readings
that familiar. and also the familiar Philhar-
monIc perfornance-strong and weighty in the
string portion sadly impure and otherwise defective
in the wood-wind
For the rest Mr Panzner had no more do
than 20 disclose the merits Of q capable and
Brandenburg concerto and Bruch's second violin
concerto-the solo numbers chosen by NJ. Ysaye.
The Bach number was announced the house bill
a concerto in G. for violin with two flutes obblt-
CATO These flutes, however. form a true concertino
band in the old style with the solo violin, and the
composition is a true concerto Crosse although ex
cept in the fnae. which Is stupendously fine fugUe,
the ripieno band plays very subordinate role Its
part helped out in yesterdays arrangement
by the organ but much too trnidIy give the solo
instruments the support which they need. The
number was Mr. Ysaye's choice and enabled the
jUdiCous 10 admire his solid qualities as player
Of Bach's nusic-to admire them, indeed. much
more unreservedly than when he played the E
major concerto with the Boston Symphony Orches-
ira earlier in the season. Though he treated IL as
solo concerto, he could not ignore his associates
the fautsts Charles KUrth and William Schade)
whose parts were OF equal artistic Importance with
his own, and he gave nobIy continent reading Of
the music dominating the performance only because
OF the amplitude and warmth Of his tone, not by
his habitual exaggeration of sentiment which
showed itself in the Bruch concerto though in a
less degree than it did in that concertos younger
sister when he played it with the Boston orchestra
In all things else he superby strong and mas
terful