The San Francisco call., 1908-05-18
DAMROSCH PLAYERS
WIN EVERY HEART
Program of Remarkable Power
and Beauty Rendered by Great
Symphony Orchestra
RY Walter Anthony

By Walter AHtnOny
symphony and san Francisco are
such strangers that it is not occasion
for surprise if we lost our heads and
prohered our hearts TO Walter Dam
rosch and his New York symphony
players yesterday afternoon and even
ing at Dreamland rink.
It was not to be expected that we
should bring along on such unusual oc-
cssions critical faculties made sharp
by contrast and comparison with other
like organizations. How should We!
So for the most part we sat mutely ana
devoured the beautiful offerings and
admired without qualification the won
derful skill and finish of the players.
There was a large audience at both
matinee and evening concerts, though
the baIcony-home of the meek lover OF
lnusic's masterpieces-was bare with
empty benches. Society, however, made
a brave showing, and there was no lack
Of enthusiasm. For the Tschaikowsky
number there was an ovation. That
wonderful work was given a superb
reading by Walter Damrosch and one
which will stand out, after this series
Of recitals is over, in the memory of all
who heard IL yesterday. II would be
hard TO conceive of a more poetic in
depreciation, throbbing with fullest
comprehension. than Damrosch brought
10 this somber, unhappy and Ibsen-like
work.
AUDIENCE is ENRAPTURED
From the moment the lugubrious bas-
soons intoned the sinister theme Of the
opening movement till the last sob OF
the lamentoso from the sonorous con-
trabass there was not measure that
was not followed with rapt attention
by the large audience. nor a phrase that
was not rounded into clearest issue by
the skill and the baton of Damrosch.
The allegro vivace started a melan-
choly-merry march. A devil may
care" movement. half jovial. half re-
sentful Under Damrosch's beat it was
whipped into fury each stroke lash
and the end in chaos.
There was rest in the second move
ment and moments Of Italian melody,
sweet and simple; but not for long.
The fear Of death is in it, too. and the
sadness is selfish sorrow for self. In
the furious moments Of the third move
ment the brasses. impelled by the baton
which turned into a whip were uncer-
tain at instants in their rhythm, but
these discrepancies We're offset by the
perfection that pervaded the second
movement with its unusual 5-4 beat.
The science of program making was
displayed in the selection of the sue
ceeding number, which was Wagner's
celestial prelude to "Lohengrin." Here
the strings outdid themselves in the
divided scoUng OF the opening and
closing strain. 1t was a fine study in
dynamics and the climax was built up
beautifully
ADMIRABLE UNANIMITY SHOWN 9.
Considerations of display obtained in
the selection Of the next two numbers,
which were two movements from Men
delssohn's familiar violin concerto and
Bachs G string solo. Both were played
by the strings in unison, the Mendels-
sohn number by the first violins and
the Bach number by the entire string
choir-violins. violas and violoncellos.
The result won a hearty encore and
showed the admirable unanimity with
which eight and "a players can per-
form a number much better played by
one.
The Gounod selection for wind instru--
ments was enjoyable and gave the wind
department of the orchestra a chance.
The afternoon Of music closed with
Smetana's s symphonic poem. 'Ultava,"
closing strain It was a fine study in
Instrumentation and a fine. free melody
on a swaying accompaniment, the
whole suggesting the sweep Of the
river from which the poem in tone took
its name.
Nine. Mary Hissem de Moss, soprano
soloist with the orchestra, made her
bow last night She sang Haydn's
With Verdure Clad" from the "Crea-
ton" and for encore Handels "Oh,
Had I Jubars Lyre." Hers is a voice
Of the kind not much heard in the west,
where oratorio is rarely sung. Tt is
pure, clear, flexible and follows with
out effort the tortuous curves of ora
torio arias It is not climactic nor
large She sings with great taste and
purity Of style; her delivery is formal
and correct and she never leaves the
fine line Of the pitch. She is a safe
custodian Of the traditions OF oratorio
and her art, while not overwhelming,
is graciously effective.
or the orchestra's offerings, all were
good. The humorous variations by
Ochs on a German folksong in imita-
ton Of the great composers was par
ticularly popular with the audience.
Ochs has caught admirably the spirit
Of the masters whose style he has imi-
tated, from suave Haydn to thunder
Gus Wagner, and from contrapuntal
Bach to sunny Mozart. The Gounod
variation sounded like a page from
Faust Litolns S sanguinary overture,
"Robespierre." closed the program. all
the numbers of which were received
with much applause by an audience
gratifying in size and enthusiasm.
Tonight will be a big affair. It will
be Wagner night and there still is but
one Wagner and Damrosch is HIS
prophet. This is the inviting pro-
gram:
Die Meistersincer.
ga) Prelude.
tbi Prize song.
lci Dance of the apprentices.
2-Parsifal.
taj professional Of the Knights Of the Holy
Grail. from act ].
o. Good Friday spell.
fyiolin solo by Mr.. Sssavskyl.
Tristan and Isolde.
iaj Prelude and finale.
ib Traume (study from Tristan).
Mr. Saslavsky.
s-Tanhauser.
1a5 Song 10 the Evening Star trombone
Mr.. Tnkin.
d. Overture.
ORDAIN FIRST PRIEST
FROM LOCAL DIOCESE
Student of ST. Patrick'S Sem.