New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-02-25
MUSIC.
CONCERT ROOM AND OPERA HOUSE.

1hree movements of Rubnsten's ocean" SYM
phony-frank and sonorous music which sounded
shsuiariy ingenious after a long absence from our
concert rooms. during which an entirely different
order OF programme music has come into favor or
iashlon-were played at the beginning of the fifth
VI LIZ rIahh Danroschs concerts for young peo-
PIE III carnegie Hal yesterday afternoon. They were
the first and last movements with one of the middle
aHesros' and, Following his old custom. Dr. Dam
rosch described them briefly and presented their
themes for Identification before playing the move
ments in full and in succession. After this large
symphonic fragment Mr. Marteau came forward
with composition for violin with orchestral
Compartment which challenged the highest degree
OF respect for its authorship its musical dignity
and interest and it's unfamiiarity
II was Schumanns Fantasia, composed in the
nIourhrul closing period of his life, when night
was closing around his mind and not published
uhtIi twenty years ago It is dedicated to
Joachim. and has a great deal of beautv but too
iucn austerfty to enlist the interest of volinists
VINO uesire always to win popular favor 1t would
10 pea'alt 10 thlnk that the applause with which
MI, Marteau's broad and obviously sympathetc per-
lolIhahce or 1t was received was due to an appre-
citation of its contents this is scarcely POSSIBLE:
SUN performers at concerts Of this character must
De applauded till they play again. and this hap
pened yesterday. Mr.. Marteau preserved the dig
nifty or the occasion, however by supplementng it
with an unaccompanied movement by Bach. Later
he came within the zone of obvious popularity with
hohanza and the familiar Rondo Capriccioso by
"alhl-oaehs' ana rewarded the applause.
questonably genuine. with one of the Paganini
capr1ces The other orchestral numbers were
Tschaikowskys Nut Cracker suite and DR.. Leo
pold Damrosch's orchestral transcription of Schu-
berts Marche Militaire. The Schumann Fan
tasia," by the way. had been heard publicly in
New-York since Mr.. Max Bendix played it at a
Thomas concert. in March, 1889
There was music at the concert of the Rus
sian Symphony Society in the concert room
in the evening. 1t consisted of a suite entitled (for
no reason that obvious From the Middle
Ages" Two of the four movements proved to be
interesting, and of them caught the popular
taste decidedly that Mr., Altschuler repeated it.
This was Scherzo. which, according to the pro-
gramme was sort of "Danse Macabre,' In which
If there instrument in the orchestra
which was not muted it failed to make the
fact manifest. Saint-Saenss grotesque devices
seemed TO have suggested ii, though there
was nothing in the music that was borrowed
from the Frenchman's well known symphonic
poem. The devices We're the bony fddler's open
strings Qeft with the normal tuning, however, and
the rattle of the xylophone 1t is ingenious music,
though Of the nober ingenuity displayed in the
love scene which followed IN which music descriptive
Of storm is blended most Interestingly and eff
fectiveiy with fine, broad love song in the wind
choirs. After intermezzo Of pianoforte music
played by Mr. Lhevinne, there came konyuss Child
hood" suite, previously performed by the society,
and a polonaise by Bubeck. composer unknown
to local concertgOers. Mr.. Lhevinne played pieces
by Borodine, Scriabine and Rubtnstein. and COM
PEELED amazement for the second time with the
Scriabne Nooturne for left hand alone, and delight
with Rubinsteins "Kammenoi Ostrow No. o.
recital of chamber music in Mendelssohn Hall by
the Adele Margulies Trio conducted the days con-
cert list.
At the Opera Aida delighted audience so
numerous that the laws of the State and physical
comfort were set at naught in the afternoon and
'RiGoletto" with Miss ABBOTT Gida, was per-
formed TO fair audience in the evening.
F. K