New-York tribune., 1907-11-08
MUSIC.
THE BOSTON SYMPHONY ORCHESTRA

Why DIR. Muck should have exacted a peuancs
from MS subscribers at the first concert of this
years series by the Boston Symphony Orchestra
II would be difficult to explain To endure II was
suInclent; there is neither desire nor energy left
lot the inquiry. Few of the subscribers were pre-
pa'eo TOT the blow. and few for that half of the
Panacea "hlch came with the concluding number
or the programme-the third of the four overtures
which beethoVen wrote for his one opera. The
other half was reasonably familiar for it con-
sisted or Bachs suite in minor, in which the
grand old man of Leipsic, unmindful of the preju-
olce against the flute which future generations
were 10 feel' gave that melihuous instrument
leading part. The affiiction which endured an
hour by the watch Bruckner's unfinished
symphony in D minor. It is a part of history that
the composer, feeling his vital forces ebbing away.
remarked to a friend that his '"Te Deum'' might
De performed as a concluding number. A pious
ieehng, with which it would be churlish
10 quarrel. has prompted a compliance
with this suggestion at least one occasion In
Germany; last night it left for the audience to
ieei tie Deum laudamus' that much of the
symphony written had been disposed Of
The work is not new; it has been given hearing
Dy the Boston Orchestra in its city, under
Mr.. Gericke, and by Mr.. Theodore Thomass band
III Shlcago' and at a Cincinnati festival Two OF
these performances the present reviewer listened
to with all the patient interest entailed upon him
by duty; and he has felt disposed to quarrel
with the conductors who declined to put 1t into
their schemes. Their were doubtless am
pie TO satisfy their artistic consciences nor -were
they, necessarily. influenced by the easy wit which
suggested that the symphony being it's composers
ninth and being In the key OF Beethovens NINTH
should. like the latter. have choral ending. But
there is why criticism should close its
mouth in the presence OF this work There is no
reason why-in spite OF the simple, unaffected per-
sonal character of the composer, of which his
champions make so much-it should not say
that instead of being dedicated as he wished
to the dear Lord Almighty IL ought TO be
dedicated to the ineffabe merit OF the
Rule Of Three or the arithmetical table
Of Land Square Measure II there
symphony built up by rule Of thumb-no less
rule Of thumb because it is that OF a master tech
nicfan-this is In invention OF theme it is
scarcely worthy of discussion. because when It
presents really pregnant thought that thought is
not original. The composers high imaginative
ness has been auded by less authority than
Mr.. Wengartner, but what praise ought we to
have for an imagination which eXhausts itself IN
mere reiteraton OF a thought-not developing it's
psychological contents, but simply presenting It
over and over again with change Of color-not
moving IT onward through "a gamut of emotions,
but simply pling 1t up, block top of block until
the composers skill is exhausted and the hearer 3
endurance exhausted? II is a timid criticism
which becomes dumb in the presence OF a work
of art only because It gives evidence OF technical
mastery. What the entire art-world-nOt only the
musicals suffering from is too much (heaven
the wordD virtuosty
1t was a fine audience that heard Bruckuer 6
symphony last night though not numerous as
most OF its predecessors last year. 1t heard the
work respectfully. and got all the recompense 1t
could out OF the Bach suite and the Beethoven
overture. In the former NJ Maquarre distinguished
himself greatly by his performance Of the flute
part He dgnlfied the instrument and put to shame
the ancient jests about the want OF dignity in the
kute. The Jests hoary with What Is
worse man a nute?'' IS old German conun-
drum, and the popular answer Is attributed to
Mozart Two" LAS the Greeks say" remarks
6syyban
kithara he takes UP the flute" But the flute is a
noble orchestral instrument. all who heard Mr.
Maquarre last night will allow. The overture,
"Leonore No. l." ought to be heard more fire.
quenty. II Is impressed all over with the master s
individuality. It has none OF tho stature of the
"Leonore'' overtures which preceded It; but II is
beautiful. It has character. ana why II should not
take n place OF prominence In the concert lists 1t
would be difficult 10 explain. II is the proper in
PRODUCTION to the opera for which Il was written.
II. L. X.