The daily morning journal and courier., 1907-12-04
WELL INTERPRETED Sympathetic Reading of Tschaikovsky = Wood
 Wind Work Good. MRS. DE MOSS SINGING Flute and Harp Concerto Not Pleasing-Parker as
 Conductor.
MRS. DE MOSS SINGING

To have heard the New Haven Sym phony orchestra pla Tschaikovsky fourth symphony yesterday afternoon at Woolsey hall was to have heard the best interpretation of that composer that has ever been given by our orches- tra. It is less Russian in character than any other of his symphonies, and that probably accounted for the sym pathetic reading given to the score.
 Another circumstance favorable to the good performance of it was the fact that expert performers were found in the orchestra just where the score calls for beautifully balanced work--in the woodwind. Even the brasses were good-they have been sandpapered down most effectively since the last concert, and the fact is noted with joy. They played with unity, dignity and conviction, showing weak spot only in the finale of the symphony where instead of a savage attack they lost heart and finished up tired. The be- ginning of the third movement lacked the crystalline clearness that must be tbe soul of pizzicato, but the rest was piayed in very satisfactory manner.
 Mrs, TIissem de Moss sang the polon- afse from Mignon, but the accompanl- ment was so very bad that am unable to say what she, under different cir cumstances, might be able to do with it. Her voice Is of pleasant quality, and is used artistically but her staccato suffers somewhat from lack of absolute confidence and that artistic abandon where nothing can go wrong. Mrs. Moss has not the temperament for sing ing Wagner. It looks good on tho program, but the performance falls be- low reasonable expectation. It would be far better for the singer to choose something closer to her heart.
 Whatever induced Professor Parker to put Mozart's concerto for flute and harp on the program is very difficult to understand, as 1t calls for neither feeling nor understanding either on the part of the players of the audience, Listening to 1t after having heard Tschaikovsky's symphony is like the sensation of a man who, having ad- mired the massive, imposing and grace ful beauty of the exterior of Woolsey hall. turns about and sees two boys making mud pies in the street. It is not musical least not for New Ha- ven audience in this century.
 Idsxts Les Preludes" was played very effectively and Professor Parker showed unusually good control over the orchestra, which, of course, is very es- sential for future growth and improve ment. While We all like to see Profess or Parker come out on the platform and make his lftttle tailor-rnade bow, it is open tosduestSon whether he is taken at his true value. We are apt to re- gard him first and last as the conduct of the Symphony orchestra. It should not aE1e so. The worlx xahys wisiah~sR lessor Parkers name will be known and loved after both he and the rest of us have been gathered to our fa- thers Is not the work which we see him do in public. It is the work which he does in the solitude of his work room, free from all extrantous influ- ences that will shed gentle, steady light on his name and make 1t secure against the corroding influences of time
 Professor Parker Is first and last a composer his conducting is mere ly incidental. He Is great CUuQQClUTt DGCduSG tIlS COulDl1d- tion is impossible. A composer to be great must have an individuality that never surrenders; he must never cease to be himself the moment he does he steps down to the level of the mediocre. A conductor to the contrary Is great just in the proportion that he can cease to be himself and become the temporary abode of some soul not his own.
 Assuming that composition has a definite amount of truth and beauty in it tue conductors power over the sympathies Is in direct relation to the truth and sensitiveness of his interpre- tation; to the degree in which he makes us feel the presence of the spirit which created the composition
 Following out this method of consid- ering Dr. Parker we should naturally expect him to conduct works by men somewhat similar in spirit and temper ament to himself more successfully than others and the assumption holds good. Brahms and Beethoven are his best, Tsohaikovsky and Grieg his poor est He knows the thoughts, feelings and traditions of Germany, but he has never seen the grim desolateness of the Russian steppes, never felt the unut- terable loneliness of the peasants heart and hopes and frozen tears And that of Tsohaikovsky's soul.
 There is, however, another very im- portant subject to be taken into con sideration when trying to form an ap-