New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-03-09
In Nuss einsi En- den.

sGsoz indeed has a composer set down a more
uzzazhe compages Of intervals than is illustrated
= his theme. all for the sake. apparently. Of
isdanztory truthfulness and effect, and IL is
T11is that one q StrauEss biographers said
E.uz tine sFo that the hymn had never yet re-
rsTsi adequate performance because OF its
c5cgEy. i is not only difficult; II is weIlnigh
impossible, and the listeners last night must have
ri as II E large stone had been lifted from their
lasts when the shrieking cecophony OF the fugal
passage lee into the finale with its homophonic
hEucaies Of really srupendoUs grandeur The
composition assaults the ear relentlessly in parts.
ny grips the Imagination and awakes wondering
SPECULATION touching the varied power of music
{ vehicle OF emotional expression.
no other compositions. also new TO New-York.
sEs Performed Tor the first time by the choir OF
s society. Inasuuch as they employed instrl-
a-z as vel as voices. they We're calculated TO
fs relief from the prevailing solemnity OF the oc-
oion but only one % them achieved this end.
~ vas setting Of z portion Of the 18th psalm,
~ ne Waters q Babylon" by c. II. Loefier. Of
ss'el Tor womens voices, with accompaniment Of
'0 naies viooncello harp and organ. The instru-
lsls are al treated in obblgato style. The flutes
'sz's hesTy-hea-ted lamentation in thirds above
(. through 10 voices. the violoncelio pursues its
WING song. the voices admirably treated, though
eo2eAed frequently 10 give Utterance 70 poignant
11ayty in rnelodic phrases Of affecting eoQuence.
'lAs me organ gives fundamental support TO the
'a@r structure. There IS an occasional sugges-
II O. OEsentslisn 81 the dourishes IN which the
-s-aes exploded but Il does not appear that Mr..
e-st has borrowed anything from synagogal
s Nevertheless his entire composition IS en-
-'p1o oy an exotic atmosphere which IS strangely
---sposing This Is highly imaginative music
- vas IN strong contrast with the composition
Nh rH 81
-1'as't2 apparatus. This composition might be
ss''oec as f. modern product Of the spirit Of
- II Is church cantata for the Passontide
ne case o. Bschs cantatas. II makes use OF
Is-o1y Of proper hymn-Paul Gerhardt's 20
- Vol B.ut ind Wun6en." known throughout
-s-sa Protestant.sm IS the Passion Chorale,"
IoSi widely sung IN the paraphrase made by
hls1sncer. beginning 20 Sacred Head. now
--usa This version was sung last night. in
- - ne German hymn printed in the score.
- useo the hymn five times IN his Passion Ac-
al I'm.
simple Procedure could not suffice Roger, with
.'tIsEng technical fecundity. He restored the
hgian textuany and gave a different setting
:. 81 one % the ten stanzas. Through every
>. NE ten divisions. which flow uninterrupt-
a.. mo The other. there goes the noble mel
n re ChorSle. as a csntus frrnus. above, be-
~---~ H-.-EA me voices NOT tLuplOgrA
Co., melody sing counterpoints. Now the
- = nsaro from the altos then from the
Z .. ron the solo violin, from the pedal Of
~ - -, tAe hymn is sung in four-part harmony.
IL - ms fuInents filing IN the pauses between
DID,, = WIN lnterludes: in unison by all the
Isav, - instrumental harmonic accompaniment;
- 4, -'eS'ea with c0ntrapuntal melodies The
lssss ~ voices. tenor, or soprano and alto IS
Les. - IN the score but mr.. Damrosch gave
'oae, liners 70 al the representatives, OF these
asreb, -s Cho-F. very uuwisely. we think, as he
,nna,,s-e iilceo some of the variety of which the
;sslrs,1 y sadly 81 need, and lessened the ef-
s.,se..lr- oI Inc Instrumental obbligati OF the
cacst mace by the work as a whole Il is
In ths, speak briefly and clearly. The convic-
taloy 1. &c lhe fruit OF reflection and applied
ege1ily 1@oLg' the labored harmonies are fire.
;gacaB,.rr-s l'ing but an adornment of the noble
hs So ine4ooy' often they are a negation
AFerss :. many Of the counterpoinis art the
stthe,n,.,- nueAt and sound like the results Of
aase ~ 49, Calculations. This twentieth century
slnd a. maj OF the master Of the seventeenth
Asyio as-s4y spontaneous and unsoughL
az Gss,,. - violin; Crsare Addimando oboe,
bs,ora,,. A. Dethier, organ, took part IN the
ssrrere 49, u The cantata: Mr. Dethier, George
IA los - hoodenburg. flutes, and Nine. AIDE
a-aabers = -, --aII' In Mr. Loeffier's psalm Other
sscasslo, ne programme which must go without
-''rin.ro .. te the twelyepsrt motel, 'Laudate
'slhsern.ra.. orlando Lassus: two spiritual songs.
ssca a., ana "Komm docE. Herr Jesu." by
ioaf voices by T. WGIlnsr); q six