The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-03-19
STRAUSS BREAKS OUT AGAIN,
ANOTHER RATTLE PIECE NJ THE
MUNICH JUMBO.
''Thnsfer" and the Battle OF HASTINGS
Small Potatoes After the 'Helden'
Ieben" and the Battle OF strauss Against
the Critical WOrms-"stabat Mater


lance. chiefly bco use they brought together
two leading violinists and gave oppor-
tunities for two hearings Of one Of the most
beautiful Of all works written for violin.
On Tuesday also came the last concert
OF the Oratorio Society, with Dvorak's
sStahat Mater a lovely composition
seldom heard. and Strauss ~Taillefer.' a
novelty Of high Importance because written
by the most discussed composer OF this
day. curious song recital and a con-
cert by the Kaltenborn Quartet filed
out the activities Of this day. Wednes-
day was not occupied with musical per-
formanoes Of public importance but on
Thursday another concert was given
for the purpose Of bringing to notice a
juvenile prodigy and in the evening the
Boston symphony Orchestra was heard.
The Peoples Symphony concert Of Fri
day night and the Boston Symphony CON
cert Of yesterday afternoon were the other
significant features Of the week.
II win be recalled that mention was
made In this journal after the Oratorio
Sooiety's concert Of the breakdown OF
the tenors in the beginning Of the 'Stabat
Mater 1t appears that this was not Their
fault The following manly letter from
the conductor sets the matter right;
ITO THE EDITOR or THE SUN-Sir' In
Justice to the tenors Of the Oratorio So
ciety wish TO state that their wrong en-
trance in the 'Stabat Mater last evening
was in obedience to my signal and there
fore my fault. In turning 20 tell the soloists
to rise, my attention was distracted from
the score and this caused the mishap. for
which desire to assume all the blame.
FRANK DAMROscH.-
Mr. Damrosch so seldom loses his hold
on his choristers that he can AFFORD to
shoulder the responsibility for this mis-
fortune. Certainly, after the performance
had been commenced it went forward
without any serious hitch.
Dvorak's -Stabat Mater is one Of his
two great religious choral works. The
other is the beautiful and inspiring
'RequieIn.' II any one were TO walk into
the Metropolitan Opera House in the course
Of the opera season and speak Of the "Stabat
Mater" by Dvorak he would be met with
ribald jeers and told that Rossini wrote it.
Unfortunately this grand old mediRval
hymn Is known TO most people through
the Rossinian music, which has about a.
"Semiramide" SCORE has Of tragedy, Rossni
composed for the text Of the Latin hymn
some sonorous popular tunes, effective IN
the concert hall and captivating to the
unthinking. The airs Of this setting are
thought Of only as vehicles for the display
Of certain voices.
But the settings Of the 'Stabat Mater
by some other composers reach further into
The significance Of the words These set
tings are not numerous. The hTst Of any
importance to be preserved till the present
Is that by Palestrina, which was heard at
the concert Of the Musical Art Society
on March 0. There is a setting by Josquin
des Pres which antedates Pedestrians,
but It IL not such masterpiece.
Palestrina composed the work twice,
once for double choir Of eight voices 1.-THE
setting given by the Musical Art Society,
and once for a triple chorus Of twelve voices
This version was regarded az Of doubtful
authenticity for long time, but IL Is now
accepted "a tho work Of Palestrina. The
arrangement employed by the Musical Art
Society was that Of Wagner, who was a
great stiokler for absolute purity In church
music.
Other settings Of the 'Stabat Mater
are those Of Astorga, composed for the
Society Of Ancient Music in London In i7iS,
and Pergolesi's, composed early in the
eighteenth century. Astorga's version,
which has an orchestra, has never
been given in New York. Pergolesi's,
which was composed for two sopranos and
string orchestra. has been heard here. II
was given by the Henrietta Beebe Quartet
In Chickering Hall on Nov. IS, 1885, aTTanged
for four voices, with olarinets and bassoons
added to the Accomplishments by Adam
Lyoh The singers we're Henrietta Beebe
soprano; Sara Barron Anderson, contralto
w. H. lawson, tenor, and Carl L. Martin
bass. Il was also given once by the Pales-
trina Choir conducted by Caryl Florio
It has not been heard here in the last ffteer
years. Here is a suggestion worthy Of the
confederation Of Mr. Damrosch.
The Dvorak setting was well worthy o.
repetition, and il will be heard ever anc
anon II came happily in close succession
70 the Palestrina composition, and serveC
10 illustrate the vast difference between
the old style Of church composition and tn,
new. Dvorak's method makes the orchestrI
take a place In the presentation OF thu
hymn not unlike that occupied by the or
chestra in the Wagnerian drama.
The instrumental background is delinea
tive and supports the voices on a field o
tone painting Of uncommonly rich eI'
pressiveness. There Is Of course no at
tempt at dramatization, but the melodi
devices and color scheme Of the instru
mental portion OF the work are such tina
they hsighten and intensity the eloquenc
Of the voice parts. As a whole the com
position Is reverent in spirit and thorough,
ecclesi site in tone, which cannot be said a
all Of Rossinis more popular setting.
The largeness OF the means Of expression
the splendor OF the plan Of some Of Oh
numbers. appeals for performance In som
vast cathedral amid an opulent surrounding
Of embroidered prelates and shimmerin
dignitaries Of the Church. PalestTinA'
version suggests rather the rich and solem
privacy Of the Sistino Chapel, or peThap
better still plain sanctuary for humbl
worslippers with an earnest priest and
hard working choirmAster.
The ancient composition, though write
for large performance, shrinks into con
fding intimacy In the presence Of the NOR
dicffon - the vpoAor, y,,t,st,