The evening star and Newark advertiser. [volume] (Newark, N.J.) 1907-1908, 1907-12-10
BOSTON SYMPHONY
lCONCERT ENJOYED BY BIG
AUDIENCE.
D'Indy's "wallenstein" Trilogy and
"Genoveva' Overture Played-Mme.
Samarof Assists.

Now that the Boston Symphony orches-
ira has appeared for the first time I'm This
city it is to be hoped that it will Include
Newark in its list of cities each year here
after. Lovers of the best in orchestral
music have hitherto depended upon the
New York performances, but the greeting
given to the famous organization at the
Kruger Auditorium last night by a large
and cultured audience surely ought to
signify thai Newark will welcome its re-
turn.
Berlin. who is now conductor of the or
chestra. offered the usual program of two
orchestral works and a s~oloist. who was,
upon this occasion, Nine. Olga Samaroff,
a pianist of note. The orchestra gave Vim
cent D'Indy's "Wallenstein" trilogy In
three parts. based upon the FANATIC, his
torical poem of Schiller. and the overture
TO Schumann's dead opera "Genoveva,"
based on the legend of Genevieve of Bra
bant. Nine. Samaroff played Grieg's Con-
certo in A minor, op. 16, with the or
chestra. To sum it all up briefly, the
works were interesting, particularly the
D1ndy composition; the playing of the or
chestra was spirited, firm sure and a de-
light throughout. and the soloist reached
UP to the n demanded by associa-
ton with such a distinguished organiza-
ton. DR. Muck's conducting was not the
least interesting feature of an altogether
enjoyable evenir &.
The famous band numbered about
seventy, a little less than its full quota,
but very little difference was noticed.
1t had all that goes to MARE up accom-
plished playing, all those excellent quail
tiles which it has attained by long years
of practise and in which no other orches-
ira in the country can excel it.
The trilogy is one of the F~renchman's
earlier works, but 1t is, nevertheless. as
full of forcible truth. vividness and vigor as
any OF his other symphonic music. The
work was begun in 1873 after his visit to
List In Germany, where he obtained the
Idea OF Its composition, and not completed
until 1881. and an interesting fact is that
the "Ouverture des P~iccolonini," forming
the second part of the trilogy, was the fret
work Of the composers TO be produced in
Paris. being given at a Pasdeloup concert
on January 25, 1874. The first and tnirl
movements were first performed In Paris
In 1880. First played in this country at one
OF the Anton Seidl's concerts in New York
In 1883. it has since been given In Chicago
and Cincinnati. 1t may be interesting 10
recall. In passing, that D'Indy was himsel;
In this country two years ago and the Bos-
ton symphony did much to make his works
better known by playing a series Of con-
certs under his baton.
The first part OF the work is splendidly
descriptive, depicting the motley horde of
Adventures who surrounded Wallenstein,
leader of Ferdinand's imperial forces dur
ing the later period of the Thirty Years
War Q6lS-164S) which plunged Germany in
to a generation Of religious and political
strife. Heading the Catholic army the
great general, who held his forces to-
gether by his wonderful personality, waged
war first against the Denmark Protestant
invaders and then against Agustavus
Adolphus, of Sweden. The life of the camp.
with the coming of the Capuchin monk and
the hooking greeting from the dissolute
soldiers, is depicted with all the tumult
OF the full orchestra, lulled or famed
into fire, as the various themes are worked
out. 1t is in the general nature OF
a sherzo. OF the various motives that of
Wallenstein is the most striking, over
s~hadowing the others through the blare
of the brasses.
D1ndy is himself an old soldier, for
during the Franco-Prussian war he
served In the defense of Paris. Being of
a highly imaginative nature, he had little
trouble setting forth in music the camp
life of a great army. BY experience he
knew something of the rude testing of the
soldiery. which Schiller's poem sets forth
as WILDLY In meter as the F~renchman's
work does in music.
The second movement represents the
love of Max and Thekla and its effectively
mournful ending, as the oboe signs -out
Thekla's lament, Is in striking contrast to
the orchestral storm of the camp finale.
The third part tells of the generals as
S~aSSinaLiOn ordered eo hiato-xy totte ~.
by Emperor Ferdinand. There is a slow
and ominous introduction, with the reap
pearance of the theme of Wallenstein. The
opening measures of the allegro portray
the conspiracy and the overthrow Of the
leader. Then again is heard the con-
fusion of the camp. The Wallenstein theme
is distorted. Death is upon him. The gem
eral met his death in 1884. mourned only
by his faithful soldiers.
DR.. Muck's reading was a thoroughly
musicianly achievement. The orchestra,s
earnest, spirited response was both ~eflcieot
and stirring.
OF the "Genoveva'' overture 1t is not
necessary to say much. except that it is
practically all that is heard now of that
ill-fated opera. 1t first met the light in
this country in Boston in 1866, sixteen
years after the opera met with failure in
Leipsic because Of Its dull llbretto. 1t
does not show Schumann at his best,
melodious and beautiful in parts as it is.
The late Norwegian's concerto, which he
is said to have written in 1868, aud which
was first played at Leipsic in 1872, has
borne the brunt Of much adverse and some
favorable criticism. AS a work to exhibit
a pianist's virtuosity It cannot be ranked
high. Nine. Samaroff made the most of
1t. however, and did the cadeBza beauti-
fully. She ran the second and third move
ments together. and ACCOMPLISHED the
technical difficulties of the varying themes
of the rondo with a proficiency which
stamped her as a player of first quality.
The concert lasted one hour and thirty
five minutes, and was a genuine pleasure
throughout.
Frederick N. Sommer, of this city, who
had the local management Of the concert,
will next present Paderewski at Krueger's
on Tuesday evening, December II. the sale
OF seats for which will begin at Lauter's
Thursday morning.