New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-01-20
MUSIC.
THE PHILHARMONIC SOCIETY.

Inc NTH regular public rehearsal of ths Philhar-
monte Society at Carnegie Hall yesterday after
noon onefed no opportunity for sensational effects
In the methods of the conductor but invited judg-
ment of his notions concerning a classical SYM
phony which has been pulled and hauled about
good deal since Richard Wagner set unfortunate
example half century or so ago. The symphony
was Beethoven's eighth, and 1t is much to Mr.
Safonoffs credit that in his reading he returned to
first principles and in general way. He did not
like DR.. Won BIlow. make the minuet stand for the
slow movement, nor. like Mr.. SeidI, rob the allie
greto scherzando of It's moderate tempo and all OF
its graceful playfulness. Mr.. safonon followed
both OF these eminent gentlemen IN playing the
first and last movements considerably slower than
the metronomic indications would show that
Beethoven wished them played but in this he was
well within the privileges of interpretattve art
list No one with grain of musical intelligence
has ever insisted that composers tempo marks
are more than general indication Of the prevail
Ing mood Of movement and set down to pre-
vent a gross misconception such marked Dr.
Won Bdlow's reading OF the Tempo di Menu
etto in the little major symphony, as Bee
thoven once called IT. Think of the minuet in
Mozart's Don Giovanni" he wrote on the
back OF photograph after his production Of the
symphony had called out structures
from this journal in March 1882 Il the sym
phonic mnuet had not undergone transformation
already in the hands of Hadyn and changed the
stately pace of the old dance for the vivacty
which its movement when it became the
scherzo Beethoven marked It for the metronome
at 196 units to the minute; DR.. Bulow played 1t
fully one-third slower; Mr.. Seid within TWEEN
t3y-six units of Beethoven's extremely rapid mark
and Mr.. Safonoff took precisely the same tempo.
The difference is great surely great enough to al
low for the personal equation Of the composer
metronoms, which Dr. Bulow had much to
say about in his own defence. but was seen
in the case OF Mr. Seidrs performance and that Of
Mr.. Safonoff not so great necessarily to- change
the character OF the music the relationship
which exists between the two middle move
ments and the symphony whole, The sym
phony sounded natural yesterday. More vi
vacity would have benefited the outside movements
and emphasized the boisterous. even rude hunor
especially OF the finale which is so eminentIy cnax
acteristic OF Beethoven.
There was Tschaikowsky number on the pro-
grarnIns and a pianoforte concerto by Mozart, VINO
was the god of Tschaikowskys idolatry. The for
rer number was 'Scheherazade." heard here carrier
in the season from the New~York Symphony Or
chestra- Mr.. Damrosch had the advantage OF a
peculiarly admirable woodward choir, upon winch
much OF the effectiveness of the picturesque COM
position depends. The refnemeEts IN yesterday
performance were all IN the reading. Mr. SaforoL
laying great stress upon strong contraSts In oy
nanics and tha greatest freedom IN movement He
also worked up the storm climax thrliNngS. Aue
Mozart concerto was that IN D minor, the best
loved of many and almost the only survivor IN the
modern list It was played by Mr.. Reiseneusr.
Throughout the first movement there nlus- nave
been pretty general wish in the audience Ike thaE
which finds expression in legislative halls when the
motion is made that the speaker have leave to
print The tempo was inexplicab!y sluggish the
reading without warmth or variety. 1t seemed as
If both solo performers and orchestra were playing
without rehearsal an impressed which was ln-
creased somewhat by an unlucky slip Of the con-
ductor's In the final cadenza- The Philharmonicans
have firm seats and good memories; they refused to
make the false entry. In the romance Mr.. Rei-
senauer recovered himself and played with e1-
oIisite touch and much beauty of sentiment