The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1908-05-03

VI NJ
COntrnltO.
principal work by three artists-two
sopranos and one contralto. Mr. Fred
eric Martin. the popular basso, Will
lend contrast to the program IN song.
The feature, among others, Of the
Saturday afternoon concert will be the
great 6 minor Symphony Of Beethoven.
Many of us have never heard SYM
phony, or, having heard ono. have only
partly understood or enjoyed 1t. This
great work, SO full of exquisite melody.
so grand in It's orchestral effects.
should not be missed. The festival
program hook will contain full cX-
PLANTATION and several Illustrations of
the music, to aid the listener and to
increase his enjoyment.
The minor Symphony is not only
the best known, and therefore the most
generally enjoyed, of neethovcns nine
symphonies, but it is probably 8: more
universal favorite than any other work
of the same class. 1t IS the great popL-
lar symphony. 1t is the work that
would naturally occur to any one who
was asked to play or to name cfarac-
ter:stic specimen of Beethoven.
It is to the work itself, to the pro-
y
which, while it copied nothing has
itself never been copied TO the extra
ordinary vigor and force which pervade
the entire composition, controlled, in
the first movement especially, by the
sicrnest conciseness, and ending In a
finale of truly astonishing grandeur
and spirit--it is to these things that the
| C minor Symphony owes IT.; hold on its
audience
Analysis OF Symphony.
The following is translation OF a
part of an analysis of this Grent work
| by Berlioz. one OF the most intelligent
anu appreciative Of Eeethovcn's ad-
mirecs:
This symphony, without doubt the
most famous of. the nine. is also, in my
oplricn. the first in which Beethoven
gave free rein to his stupendous imagi-
nation, and rejected all foreign I'D or
support whatever. Ills first. sccond and
fourth symphonies are constructed on
the old known forms, more or less ex-
tended, and infused with the brilliant
! and passionate inspiration of his vigor-
Gus youth. In the third, the Erolca,
the limits are no doubt enlarged, and
the ideas are gigantic, but 1t is i'm
possible not to recognize throughout
it the influence of the great poet whom
Beethoven had long observation-disclosures
But on the other hand, the
Symphony in C minor appears to me
to be the direct and unmiXed product
of the genius of its author. the de-
4 velopment OF his most individual mind
His secret sorrows, his fits of rage OF
depression, his visions by night, anc
his dreams of enthusiasm by day, form
i the subjects OF the work. while thu
forms of both melody and harmony
rhythm and Instrumentation are as es'
sentally new and original as they arr
powerful and noble.
THE first movement Is devoted to tht
representation of the disorder and con
fusion of great mind In despair; no
that concentrated, calm despair whicl
appears outwardly resigned, nor tn
i stunned. dumb distress Of Romeo wlel
he hears of the death of Juliet; bu
rather the tremendous fury of Othell
! when Iago communicates to him IN
). yenomous calumnies which conVlnc
him of Desdemona's guilt. One tnstah
, 1t is a delirious rage, venting Itself l
. frantic cries; the next II is absolut
exhaustion, in which the mind is file
with self-pity, and able to utter mer
groans of regret. Those conNulslv
4 gasps of the orchestra; those chord
: tossed backwards and forwards be
@ tween the wind and the strings. eac
time feebler than before. like the diff
cult breathing of dying man; tn
Y sudden, violent outburst in which tn
: orchestra revives, as If animated Wit
t the fury of the thunderbolt; the me
/ lmentary hesitation of the trembln
q mass before 1t falls headlong IN wv
= fiery unisons, more like streams
: lava than Of sound; surely a style
= impassioned as this lis beyond an
!. above anything ever before produce
: in instrumental music.
o. Tho .Andnntc.
e Surette says OF the Andantc;
&c "A piece OF music like this Ar
a dante Is human documents IT en-
'e braces so many phases of human lee
a ing, and it places them all, as II %er
Is IN such proper focus, that we teel
D. listening TO it as though we had con
= In contact with elemental human Q
'G perlcnce This music Is not una
M proachably grand; we hear In y echo
I'd OF our own striNings. hopes ana q
in spairs. And it is this sense or pr
IN I.portion. this Wilderness OF vision, TN
no make Beethoven's music so universe
ho For IN the last analysis the effect
lie any work OF art depends on the artls
IA sense of values: a fine situation IN
- novel Is all the finer for being
No against a proper background; tras
~ ~ dy must have moments OF relief; bea
" Is alone, whether in painting or
ny piece OF music,A.soon pals upon us;
~ the greatest works OF ART this ser
M OF valpes-this feeling for proportion
us is always present toysaVe the situati
ay twhateYer II may bel from the dca'
cir sin Of being unintercstinE. y