New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1905-03-05
MUSIC NOTES.
Musical art Concert-More Russian
Husic-4 Shortened Calendar.

Monday-Eolian Hall. $50 .. concert of
chamber music by Geraldine Morgan ana
Laura DanZiger
$50 p M concert by the Dannreuther
Quartet; Hotel Majestic, , p m, concert of
chamber music by the Mendessohn Trio:
H3oiian Hall. SD p m. concert Of chamber
music by the Adele Marguelies Trio; Men
delssohn Han 3 p M. pianoforte and song
re+ifaj nv Faith Thonnnson and Ferdinand
Jaeger: $50 p m. concert by the Nolpe
Orchestra; Old Thirteenth Street Presby
terrain Church. free organ concert by Mrs.
G. z. Mcclellan.
wednesday-Me ndelssohn Hall s:15 p. m.
panoforte recital by Albert Won DoeIihef.
Thursday-Carnegie Hall. $50 p. m. concert of
the Musical Art Society," Mendelssoh. Hall,
SID p. m. violin recital By Maxinlilan Pizer.
Eriday-Sherrys, afternoon. concert for the
benefit Of the New-York COnvalescent Home.
Saturday-Carnegie Hall. 2:30 p. m. concert of
the Young Peoples Symphony Society: SID
.. m, concert of the Russian Symphony So
ciety
The directors of the Musical Art Society an
nounce that the second concert of the twelfth
season viii be given in Carnegie Hall on Thurs
day evening, under the direction of Frank Dam
rosch The choir viii sing for the fourth time in
New-York the eight-part "Stabat Mater" by
Palestrna, which is the most beautiful of that
group OF compositions which includes the Mar
celline Mass and the Improperia. The ammo
tator Of the programme says: ''One Of the char
acterstic features of the Improperia marks the
beginning Of the music Of the 'Stabat Mater 1t
IS the sequence of chords existing for their own
sake, and not accident of the simultane-
Gus flow OF number of melodies The three
nlajqr triads of a, and F. with which the
work opens, put the stamp of Pedestrians genius
clearly upon II. They are the composers hall
mark, and their lovely effect can scarcely be
overestimated. OF them Mr. Rockstro said:
The opening phrase, containing progression Of
three major seconds. produces one Of the most
original and beautiful effects ever heard in poly
phopic music In the old church compositions
prior TO the masterpieces OF Palestrna the emo
ronal power Of harmony was but little
understood. The harmonies indeed were a
result Of the Intervening of the melodies
they had scarcely any independent value
Nothing could more plainly disclose the
Transporting effect Of succession of pure triads
than Pedestrians device. His melodies are dis
Hinguished by grace, beauty and expressiveness
willie his command Of atheriaI effects due to
nhe manner in which the voices are combined
IS absolutely without parallel from his day to
he enjoyed a wonderful revelation and this he
has handed down in works like the three men
1ioned This music must not be listened to with
the notion OF dramatic expression which pre-
walls to-day, although there are examples of
Palestrina which suggest trend toward the |
snodern conception. 1t Is IN the flow OF the |
voices. the color which results from combina- |
lions and registers the clarity of the har- |
monies the reposefulness resulting from con- |
Fcious ease of utterance, the loneliness of the |
individual voices and the spiritual exaltation Of
the whole that the aesthetic mystery les
IN contrast is the Motel. Sing Ye.' Bach's |
structure is Gothic, rugged, massive, upward |
striving, the voice Of men. The work is written |
for two choirs OF four parts each. The first |
choir begins in the fugal style character
1stic of all Of Bach's works Of this class. For !
four measures the second choir provides har- |
5nonic substratum for the poyphony by swell |
ing injunction in chords OF the first and second |
beat, Sing ye, sing We, sing We? but then 1T is |
'whirled off into the turnultuous fugal current"
Richard Strauss 'Tailleter," which the Ora |
torio Society will give for the first time in |
America Tuesday evening. March Ia, ct Car |
negie Hall. with Dvoraks ''Stabet Mater" is /
setting of Ludwig Uhland's ballad OF the Nor
nan hero OF the Battle Of Hastings. INLAND.
best beloved Of German romantic poets. wrote !
Taillefer' in 1872. when only twenty-five years |
DID, after special study in Paris Of French medi-
seval literature. In Uhland's version Taillefer
Sc a young servitor OF William of Normandy. |
whose sweet singing and cheerful bearing win !
the dukes favor. He asks and receives knight |
" rank, and when he rides forth the dukes |
sister watches him admiringly from the tower.
Before the battle of Hastings Taillefer begs the
privilege OF being the first to ride against the
English army He approaches the foe sings |
Of Roland's deeds. and Stays two English
knights ere the battle Joins. After the victory
Duke William honors him at a triumphal ban |
ouet declaring that Tanlefer's brave song would |
ring IN his ears forever
INLAND altered the original story History or /
tradition receunts that TaiIlefer C'cleayer of |
IronO Norman minstrel, or tuggier rode /
forth TO defy King Harolds army at Hastings, |
sang songs OF Roland and Charlemagne threw |
his sword into the air and caught It. then |
struck down an Englishman with his lance and /
snother with his sword. ere he was himself slain. |
The song that Tailefer sang is believed to have
consisted OF short lines in the style OF the old !
trankish sagas, rather than quotations from |
the famous "Chanson de Roland with tts |
gioIhcauon or the hero. who persisted at the |
Pass OF RoDcesvalles. in the defeat OF Charlie |
magne's army, in the year IT'S. Richard Strauss |
then at work ''TaiIlefer" published in 1909 es
his Opus %. II wonder" he said that such a |
fresh beautiful poem has not already been set
10 music In Strauss setting Taillefer is a
tenor. Duke William barytone and the dukes
sister soprano. The chorus supplies the mar
IsuSe' oIten IN unison often in the richest four,
six or eight part harmony. The orchestral score
demands no fewer than 102 players vet Tail
lefeT' is far less difficult and complex than
chestral suggestion of the Battle of Hastings
IN this new work the composer has gone back
TO a simple manner.
The hrst part Of the concert of the Russian
Symphony Society next Saturday evening will
DC taken up by the minor symphony of Sergey
1vsnovich TaneIew, now professor Of counter
point and harmony at the Moscow Conservatory
and once its director. as predecessor OF Sa fonoe
TaneIew's leanings clearly in the direction
Of the classical German school and the svrn
rhony made a deep impression among musicians
by It's characteristics, which rarely met with
IN modern Russian compositions movement
from George Konyus's suite From Childlife'
entitled The Nurse: Sibelius's "Musette" and |
DaTgOInyzhskfs "KaZachok," both enioyed nv |
the audiences at earlier concerts will be pIaved
by the orchestra. After aria from Tschai-
sowskys Eugene Onegin." sung by George
Leon Moore. tenor. the programue wifi concInSa
with Rachmaninoff's fantasia THE CIiff ;"
strong piece OF descriptive music. which viii be