New-York tribune., 1906-12-01
MUSIC.
THE PHILHARMONIC SOCIETY.

somewhat trying hour at the second afternoon
concert of the Philharmonic Society yesterday was
offset at the last by interesting performance OF
Schumanns symphony in c and the overture 70
Webers "Oberon." AT the outset the orchestra
under NJ. Safonof, played orchestral TRANSCRIPT
ton of the first OF Bach's organ sonatas made bv
Hermann Hans Wetzler. formerly a New York
musician. but now In Germany. Mr. Wetzlar had
hT'ught MS arrangement forward one Of his own
concerts in Carnegie Hall some years ago when
Tor one reason or another. 1t made an amabIe i'm
preston, especially its sparkling closing rueua
Upon which orchestral garb sat with a pretty grace
Yesterdays performance provoked the question
whether or not IT had been worth while To re-
1sshlon the work or give it place in the schemes
OF an INSTITUTION which has large and dig0ffed
mission as the Philharmonic Society The r,1eua
Il piece or music which seems to invite less
sluggish vehicle than the organ, for its blood runs
d merry course indeed but the first and second
movements gain little If anything from the MANY
voices Of the symphonic band as 1rr v-a+,Ia- -
treated them There Is. in simple truth less ,arfa,
OF color In the new form than might have hAAp
o4Ae'eu py ingenious registration upon a good or
gan 1t is true that Bach did not write tba i
sonatas. Of which this in E fat is the fir, s.
performance upon the organ but ONLY IN Trac+,Sa
his son Friedman in the technique of organ play
ing; but that circumstance neither adds TO sub
tracts from the value OF the pieces pure music
As such they must been beautifully played
upon a harpsichord, with two keyboards and
pedal, Bach designed that they should be; they
are also beautiful upon the organ. though we con-
fess to some doubt If the ebuIlient spirit Of the
fugue could be evoked upon that instrument
it be upon the successor of the
harpsichord the planoforte. as it yesterday
from the strings of the orchestra. If there were
any fascination in Mr.. Wetzler's Instrumentation
it might achieve Justification for his labors but
such fascination was dscernible yesterday and the
sonata seemed like of loves labor lost.
Moreover. It did not present the orchestra in
favorable light for the playing nfeless. SLOW
enly and frequently untuneful. and the opening
allegro was played so slowly that there was mona
Of the effect OF contrast between it and the second
movement, such the history OF the form which
it exemp1es. TO say nothing OF the spirit of the
music. proves to have been IN the purpose of the
After the sonata came the novelty OF the after
noon-the violin concerto OF Jean Sibelius. played
oy Maud Powell a brave woman and an unselfsh
artist is Miss Powell 1t she who introduced
Tschaikowsky's concerto to Amercans-that work
n which the occasionally vitriolic DIR. Hanslick
said the violin not played, but thrashed,
beaten. abused and generally maltreated. The
Tschaiko vsky concerto is stock piece of most
virtuosi now. and it's technical difficulties longer
excite the special wonder the ire of critics 1t is
now Mr.. Sibeliuss turn. The Finnish composer
has put out his dragnet and captured multitude
Of curiosities in the way of difficulties never
before 1t is only fair to him. however say that
le seems TO have fancied that only through them
;ould he achieve the originality of musical idiom
hat ne was arter. we must not Write Ike Men
lessohn." say the composers OF to-day, though II
,ne OF them could write we fancy he
would be willing to pocket his consuming
munger for individuality for the noncs and that
violin PLAYERS as we'll the lovers OF violin music
would welcome his concerto with unqualified graft
tude. The difficulty seems to be that the would-be
creators OF new effects have notion that there
need be neither beauty. clearness good modula-
ion Gn which qualities old Galupp summed up
III good music) in their composition. nor that any
consideration need be paid to the native voice OF
the solo instrument All the heights OF the violin
are furously scaled in this new concerto and all
Is most lugubrious depths explored In one sense
Il is idiomatic. for other instrument could utter
he sounds that the score calls for but there are
few opportunities for the violin speak In tones
of beauty. while tho accompaniment is for the
greater part either mutter a growL Solo in
trument and orchestra do not love each other in
his new work. They are seldom supplemental Yet
Is preacher OF nationalism Sibelius is moro
Eloquent in this untagged piece OF music than he
5 in his incomparably more beautiful overture
Finlandia" We do not hear the magic sweep OF
WanamolDen's kantele in IT: but in its last move
nent (the clearest II not the most beautifully there
g much OF Russian daring. There is real charm
n the second theme OF the first movement. and at
ne outset or the second the composer seems to
nave spread his pinions for a really noble flight
'ut the wings like those OF Icarus But there
3 strength In the work. which is not all rude and
will doubtless disclose beauties which
we're not apparent yesterday when the orchestral
'art sounded singuarly tentative Miss Powell
dayed with astonishing verve and as II there
10 mysteries in the score for her. II was alto
sether a remarkable exhibition.
Had IT been possible omit the trumpet and
orns. with their proclamation Schumann's sym
hohy "ouii have been more impressive. for sad
work was made OF the motto. Mr. Safonon is
ialnIy ono OF those who boliays In the xrsSSns.s