New-York tribune., 1905-02-05

terest among connoisseurs, though wholly free
rom sensational elements. In the beginning
Mr.. Welngartner has grouped three character
istic oveTtures Of many composers, viz:
Gluck's "Iphigenie en- Aulide." Mozart's Eau
berfote" and Weber's "Oberon" Following
these VIII core the conductors own symphony
IN E-fiat which Mr. Walter Damrosch brought
Forward at a Philharmonic concert two seasons
ago. Finally will come Liszt's "Hunnerschlacht'
Battle OF the Huns). which does not seem ever
% have been given by the Philharmonic So
ciety devoted as such conductors as Eisfelt,
Bergman, Damrosch. Thomas and Seidl were
70 Liszt
"Runnenschlacht' is the eleventh Of Lszts
symphonic poems. and has for its subject q
painting by Wilhelm Won Kaulbach, upon one
of the walls IN the new museum at Berlin. It
was the first time that Llszt chose a picture as
the programme of one Of his compositions
though he returned 10 the device when he wrote
ais "Totentanz" for pianoforte. The contenpla-
zion Of Kaulback's historical frescos moved him
so nightly that some time about 1855 he con-
ceived the plan Of utilizing them all, five IN
NUMBER, FOR as many compositions At frst
something more extended than a symphonic
poem was in his mind. Exactly what it was
cannot clearly be determined but a letter writ
ten TO him by the painter Kaulbach which has
been given to the public by La Mara, indicates
PLAINLY tI4at IL was z combination OF poetry,
music and panorama Dingelstedt had evident
y been consulted with reference to the literary
part, for kaulbach writes TO List: your origi-
nal and brilliant idea to give musical and poetic
form 10 the historical pictures I'm the Berlin
museum has moved me deeply and greatly oc-
you and DingesIedt shall tell me your plan of
procedure The representation of those powerful
subjects In poetical. musical and pictorial
FORM ought 10 yield harmonious. well rounded
and mutually complimentary work"
Raulbach's painting Is not q representation
OF any historical battle OF the Huns but the
embodiment Of & legend. The scene is a wide
field before Rome. The ground is strewn with
oorpses. among which walk women In the atti-
tuoe Of grsef and lanHentation. The ferceness of
hate is stin in the bodies OF the dead They
Else from the ground. rally into two ghostly
armies, and continue to combat in the air. At
the head Of his Huns Is Atti!a, borne high on a
shield and swinging his terrible scourge; lead
ING the Goths is their monarch, the banner of
me Cross above his head. II is the conflict be-
tween Christianity and Paganism which is thus
symbolized. and to which Liszt gave musical de-
Aheaaon IN his symphonic poern-"a fantastic
s.eee or uhcanny and elemental power" says
Dir. Ne.ngertner In his book, THE Symphony
since Beethoven" In the midst OF the noises OF
battle there arises the melody to which the
ancient church hymn "Crux fdelis used 70 he
sung. Ever and anon # asserts Itself in the din
q me metee. more and more 1t gains the upper
nand Until II peals out, q psean of triumph from
orchestra and organ. at the close.
Ar- Weingartner's stay in America is to be
crowded with incident He viii take part in
me concert OF the Kneisel Quartet next Tues
Gay. conduct the regular rehearsal and concert
Of the Philharmonic Society next Friday and
Saturday, direct the special concerts Of the So
c'ety IN Carnegie Hall Tuesday and Wednes-
day Of next week. at which Berlioz's Harold
IN Italie" and Beethoven's Ninth Symphony are
20 be performed. and the next day conduct a
concert Of the Philadelphia Symphony Orchestra
n that city. He has already played with the
Aneisel Quartet In Boston. AT Tuesdays con-
cert in Mendelssohn Hail he wiz play the piano.
forte part IN his Seztet in 3 minor for piano.
sorte. two yiolins. viola. violoncello and double
bass. The work. which employs an unusual
combination OF instruments. wss published in
1903. dedicated TO Alfred Reisenauer, the plan
isl, but was played in London as long ago as
1902. Two string quar;ets preceded Il In the
ist of AF. WeingaTtner's chamber COMPOST
Lons and he has since published a third quar-
let THE sextet has somewhat gloomy mood
ifs basis. gTsi established in the opening ap-
passionate, modified In the two middle move
:nents. OF which the third is "in the character
OF q free improvisation" and again intensified
IN the last. inscribed with the title OF "Danse
Funebre." There are interesting canonic pas
sages in the first trio OF the second movement
In which Professor Emil Krause, I'm an article
Upon the ssxteti observes that the theme. SEEM