The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-01-13
TIE BOSTON ORCHESTRA.
4 NEU SYMPHONY By VINCENT
DINDY PLAYED.
work Full OF Diseased Harnlonles and
Most Ingenious Workmanship Its
Instrumentation Highly tolOrod
.Inseny Gives Poetic Concerto.

| The third evening concert OF the Boston
symphony Orchestra at Carnegie Ha II
last evening, began in melancholy and
ended in rejoicing The first number on
the programme was Schumann's "Geno-
yeva' overture, but this was removed TO
make way FOR memorial to the late Theo-
dore Thomas. Schubert's funeral march
in fiat minor, orchestrated by List from
a composition for piano. four hands, was
played After this solemn function the
real business of the evening began with
Vincent d'lndy's second symphony, Hat
major, opus o.
This work was heard for the first time
in this city. II was previously discovered
by the Philadelphia Orchestra just how
1t came to make It's Impress on the mind
Of the suaye and gentle MIR. Gericke would
be hard to imagine, for il is neither suaye
nor gentle itself 1t is one Of the works
Of the altogether utter modern school
which hates all harmonies not afflicted with
strablsmus, II revels IN fractured seventhH.
dislocated ninths and unluCky thirteenths
When it cannot think Of anything else
TO do to make the blood curdle and the
spine waggle il snatChes two minor seconds
IN different keys and incites them to ntr-
derous combat with one another. Pro
cSedings OF this sort administer Ralvano
shocks 10 the nerves and make people
squirrn in their seats so that at least they
cannot go 10 sleep.
With these promises laid down ii must
be recorded that Mr.. d'lndy who IL a per-
sonage of Importance in France. has written
an interesting work People who do not
IKE harmonies suggestive OF rampant
lemons and nebriated peslmmons Will
not enjoy this symuhUny. Maybe no one
really gets Joy out of 1t. but many viii find
II Ike ginger hot l. the mouth,
The slow introduction TO the first move
ment biteth like an adder, but it challenges
attention and makes tho vigorous and
brilliant first theme of the allegro. sung
first by the horns and afterward by the
strings, sound fluent and melodious. The
second theme introduced IN similar in
atrumental language, IL equally good
The working out il excellent in design but |
lacks climax The whole movement il |
luscious in Instrumentation and shows fine !
musicianship.
In the other movements OF the work tho |
composer utilities parts Of the themes hearc |
in the first, adding new matter to give |
diversity and introducing great variety ,
of treatment IN his developments. Tho 4
second movement. Involvement lent, il I
elegiao in character in the beginning and {
end, and in the middle has a piquant theme ,
which ~ sung first by the harp. This in /
strument Is rarely used indeed TO pro-
claim symphonic subjects but in this case
its uSe IL effective.
The third movement il n sort OF inter- /
mezzo, and though the symphony has no /
programme this part OF IL suggests very |
strongly a country festival in the open
air with a cheerful organ grinder handing
out Jig music to the peasants. II il an |
archaic tune, after the manner Of pan
tourimic dance, according TO the pro-
gramme notes. This is an admirably built |
movement.
The Last movement begins with an in
PRODUCTION and fugue and ends with
rondo' The introduction recapitlilates all !
the themes previously heard, and the fugue |
Is built Of the cantabie motive OF the first
movement New thematic matter Is intro
troduced and worked up with old ideas 10
bring the work TO n close. The symphony
seems TO demand all this because OF its
splendid workmanship. It's acrid style
initiates against its chances OF popularity.
After the symphony, Rafael Josefy
played the b fiat piano concerto OF Brahms
with the orchestra in a most beautiful and
poetic style 4 little more tone would
have bettered the performance. hut 1t was
n lovely Interpretation of a lovely work
Dvorak's Carnival overture brought the
RI n end