The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-11-11
TWO SYMPHONY CONCERTS.
u RiHHS'S q MINOR HEARD At
10Th or THEM.
Dr. Muck n The Host OnIans play u len the
Afternoon. while MF. DamrOsch and
the New Workers olive II NJ Night -
other Music and Mime. schumann-IIeIn

NhANN '"NH hFN" " ""N
the New Workers Give II Al Night
other Music and Mime. schumann-HeIn
By one of those unfortunate condolences
which are altogether too common in the
programmes of orchestral concerts the
first symphony of Johannes Brahms was
performed in Carnegie Hall twice yester-
day. In the afte moor il was the corner
stone of the matinee concert of the Boston
symphony Orchestra under DIR. Carl Muck,
and in h evening Walter Damrosch led
the New York symphony Orchestra through
its splendid measures. This j~uxtaposition
Of readings allures to comparisons, but
the temptation shall here he resisted.
The first matinee of the gentlemen from
Boston, despite the fact that there was no
instrumental OF vocal virtuoso to incite to
hero worship. was attended by a notable
audience, which judiciously vented its en-
thusiasm On the new conductor. DR.. Muck
made a stronger impression than he did on
Thursday night. He seemed TO feel surer OF
himself and his hearers. He had learned
the temper of New FORK music lovers and
he reached out after emotions. which had
10 meet him more than half way at the
evening concert.
What will be the probable change in the
style Of the Boston symphony Orchestra
, under him was indicated in the Brahms
symphony. There was nothing startling
in DIR. Muck reading. tempt and nuanoes
we're those established by the clear indica-
tions Of the score. But where under Mr..
Gericke all was subdued and exquisitely
polished under DR.. Muck some OF the Cioe-
roman nicely was swept away. The new
conductor even permitted his men IN one
or two places TO slip from that military
precision of attack and that machine like
unanimity which were inseparable from
every performance under the ineXorable
baton Of his predecessor.
these were hut monentary faiings, how
ever. and for the most part the Orchestr a
maintained it's traditionss Of finish. But in
muscularity. inclsivenes. brilliancy and
power it far outshone anything il has done
in recent seasons. The performance OF
the magnificent last movement Of the
symphony was one Of the most eloquent
ever given in this city, II was inspiring
OF the performance and rewarded the con-
ductor with six recalls. these recalls
really meant something. for conductors.
unlike pianists. do not play encore numbers.
The other compositions on the pro-
gramrne we're Weber's "Oberon" over
ture, Richard Strauss Don juan and
Weber's Der Freisch itz" overture. II
was a formidable test for the music OF
Weber, but none the less triumphant.
Tit horid, old overtures stood their own
ndnu$Ot1tlY III N1t DIeSt1Ct Oh IDe lullOsO-
phizing of the arch realist of Munich. II
seems that Weber was really a composer
of talent. The Strauss music was ST.
Ierbly played yesterday, DR.. Muck con-
Quoted it con amore, for he and Strauss are
associates in artistic labor.
II the first two concerts OF the Boston
Symphony Orchestra were fairly prophetic
OF what is to come, we shall probably have
less perfection OF toDal s~moothness, less
elegance and repose in performance and
Lace Nsa1a In Lilac In ~ R.IuAAn
we may expect more boldness, more spirit,
more OF the golden thunders of the trumpet.
more OF the cymbal's martial clang, In
short, the hand that was shod in kid has
given way to barred fingers, with polished
skim indeed, but with sinews Of steel under
meath.
The performance of the Brahms c minor
symphony by the New York Symphony
Orchestra in the evening was characterized
by much vigor. In the first and last move
ments Mr.. Damrosch conducted with
nervous impetuosity and with strong
feeling for the broad mass effects of the
composition. There was some forcing
of the o. of the strings in the last move
ment, but on the whole the performance
was spirited and ~incisive. The symphony
orchestra is now an excellent one, and
Mr.. Damrosch takes Just pride in il.
Nine. Schumann-He ink sang her familiar
recitative and air from Mozart's Titus"
and two Schubert songs, Der Fri KONG"
with the Berlioz Instrumentation and Tod
und das MA ichen," with the Motif orches-
tration. She sang in her customary over
toned manner and suffered in fidelity TO
the pitch in consequence thereof. Bach's
suite for flute and strings served TO give
an opportunity to George Barrere, the first
fiutist Of the orchestra, to display his beau
tiful tone, his remarkable command Of the
dynamics of his instrument and his fine
technic. The programme concluded with
Grieg's Symphonic Dances" the charm
Of which never fails to reach an audience.