New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-03-20
MUSIC.
THE 0RATORIo SOCIETY.
Sir Edward Elgar and His Apostles"

S4A 0A@d4u L45dF anu his AEVStAces
The oratOrio Society of New York gave a per-
Torrance Of Sir Edward Cigars oratorio THE
Apostles" under unusual circumstances at Car
nesfe Hall last night. 1t the third public per-
romance Of the work in New York City, and as
on the two previous occasions the society had the
heip or singers from the Musical Art Society.
mis- time, however, the OratOrO was conducted by
the composer. who III appears from the announce
ments Of last nights cOncerD Is an honorary as
sociate conductor Of the society. 1t is Sir Edwards
third visit to america but the first which he
has presented himself publicly in New York. Two
years ago he came to accept a degree from Yale
University; last year he came again to conduct
some Of his compositions. including THE Apes
Ties. at the biennial May Music Festival in Cincin
matt This time he IN dual capacity as
the guest OF the Oratorio Society to conduct
performances OF The Apostles and its sequel.
THE Kingdom at its concerts, and also
TO receive a degree from the University Of
Western Pennsylvania one OF the foreign
guests invited to ATHENA the dedication OF the
new building % the Carnegie Institute at Pittsburg
in April The work which he conducted last night
had It's first performance at the Birmingham Fes-
tivai in October, 1893 Before any other European
city had an opportunity 10 hear it Mr. Frank DAM
rosch brought Il forward with substantially the
choral and instrumental forces which took part In
last nights performance. for the benefit OF the City
History Club February 9. 1904 1t was then re-
Deted at the last concert OF the OratOris Society
on March "a OF the year. These facts. taken
IN connection with the others that all Of his works
OF large dimension with a single exception have
been heard in New York serve to indicate that the
concert institutions Of the city have been keenly
/ alive 70 the significance OF Sir Edward COM
poser. and lent beauty and significance TO the re-
ception which he received when he appeared upon
the platform last night to conduct his music.
Chorus and orchestra arose from their chairs TO
welcome HIM and he was made feel again ana
again by performers and listeners that he has es
tablished a more intimate musical bond between
America and England than has ever existed here
tofore
The forces that were placed at his disposal last
night were in all respects capable. The choir
familiar with his music and II portions OF it were
sung with less spirit. less incsiveness and
smaller degree OF compelling power than on the
earlier occasions, it was doubtless due 70 the lack
Of familiarity on the part OF the singers and IN
strumentaIists with the methods Of Sir Edward
as q conductor. The same phenomenon this
reviewer can testify. was presented last May
TIE Cincinnati festival Composers are not always
the best conductors Of their own music.
Sir Edwards music Is modern IN manner.
II Is full Of emotionality and dramatic color.
and Il follows the lines Of its text. which, at
times. It raises in expressive potency. But the
textual scheme Of the cTatorfo IS lacking in
continuity and consistency and tho musical de-
vices enlisted 70 bind tho scenes together. while
obvious enough to the experienced musical analyst.
still TOO purely intellectual 20 offer the amount
OF sensuous enjoyment which the ordinary listener
/
stance Of the cerebral tendency OF modern
music Sir Edward. however, is sensitive TO It's
emotional food and tries 20 carry the performers
along its rhapsodical current In the climaxes
his methods vIvfying. but IN the long stretches
between he Is prone TO let the performance become
Iethargic. His Is largely given TO The man
rather than the matter. He strives - evoke
the spirit of the music. and conducts ruances OF
expression, sometimes 10 the forgetting OF the
rhythmical props upon which amateur chor!stsrs
e. oN y,VNa I4z -0IN
singers stood by him bravey last night and 50 did
orchestra and chorus when something like the
ventions moortngs were IN sight. The solo singers
an extremely capable band Go select any one OF
whom for special praise would be invidious) were
Mrs. Corinns R!der-Kelssy. soprano; Mrs. Mes
sen-Stone. contralto; George Hamlin. tenor. and
Claude Cunningham. Frank Croxton and Edwin
Evans. BASES.
When The Kingdom is performed next week i.
may be possible to say H. and II So what extent
familiarity with Sir Edward Cigars method OF
composition increases admiration for e. Concern
ing its sincerity and its technical finish there can
be question. Whether not he IS sufficiently
a dramatst (and his whole conception Of the ora
torio form is as dramatic that of its origi
Z majors three centuries ago. apply the modern
system of typical phrases convinCngly is matter
open 10 question OId-fashioned composers have
been stronger IN characterization by simple and
purely musical means. But SO one be willing 20
follow this composer in his devices he is mar
veIIous quickener Of the fancy and his power In
the realm OF the emotions is not 70 be denied. 1t
was pleasant last night again 10 observe in the
early part Of the oratOriO that the composer adj
hered the literal reading OF his score made by
Mr.. Frank Damrosch In the employment OF a de-
vice for giving local color TO the music.
Heretofore. we fancy. Sir Edward has heard
Ills rams horn call PLAYED only upon the
trumpet The propriety OF the introduction Of ths
shofar in the dramatic scene with which Sir Ell
ward has associated it was discussed in this jour
nal three years ago, when the oratorio new.
In the discussion the Rev Francis L. Cohen. a
learned rabbi Of London. who had supplied the
composer OF THE Apostles with information about
the ancient Hebrew service. took part. In expIa-
nation Of the unusual interval "a sixth which Sir
Edward chose to give To his instrument in prefer
ence to that generally heard in temples and syna-
gogues occasions when the shOfar is sounded
in obedience to ancient custom The learned
Hebraist made disagreement with The Tribune's
reviewer In his Interpretation OF tho ancient COM
nentators. who set down Sir Edwards Of the
shofar rs a mere poetic license. Yet IL a matter
I OF eadness that the composer did 10.
for the touch of local color Is both beau
tful and appropriate. An explanation OF the
scene made on the earlier occasion may
now with propriety be repeated. II is the
second scene OF the first part of the oratorio and
yoke In his fancy like this: Jesus has been all
,ipbt alone He had gone 'Out into the mountain
20 pra, and continued all night in prayer to God"
He Il seeking help and comfort in His purpose to
send out apostles to spread abroad His teachings
and has heard the assuring voics OF the angel
Gabriel Morning Is about to break. and there
,,u ba a change OF guard when the signal Is heard
/ rrbera are watchers the roof of the temple
within whose walls preparations are making for
~ warming service. Suddenly the sound OF a
rams horn trumpet is heard In the distance, and
.Lo watchers proclaim the rising OF the 1T
T ~