New-York tribune., 1908-12-23
MUSIC.
A CONCERT OF ARCHAIC MUSIC.

II is a fine exhibition OF zeal on the part Of NJ.
Sam Franko and OF serious musical interest the
part OF too small portion the public which
keeps alive the concerts OF Old Music which New
York has enjoyed for eight years in spite Of
insufficient support. Last night. the first con-
cert for this year in Mendelssohn Hall Mr.. Franko
enlisted the services Of choir (as he had on
PREVIOUS occasion some years ago., as to make
possible the production of two of Bach's church
cantatas t'Seepers Wake q Voice is Calling and
Thou Guide OF Israel0- The former Of these has
been heard. and it's fundamental melody is ia
miliar not only from is inclusion in Mendelssohns
st. Paul but also in many British and American
hymn books. but there recore of previous
performance Of the latter. The purely instrurlen-
tai numbers HandeIs concerto crosse in D
minor. overture by Cannabich (1hose assoc-
stes IN the Mannheim school Of symphonists have
had representation in AIr. Frarkos schemes, though
he has been absent. and beautiful bits Of nu-
sical archaisu which took the place of Christ
mas symphony by Manfredi as originally an
nounced- These were dances, one a
savotte in form from OF the ballets
composed in all likelihood. by Lully for Louis NV
and pavanne by unknown composer OF the
sixteenth century. Both of these works had been
brought forward BY Mr.. Frankie at one Of his con
Certs in January 1904. At that time il turned out
that the latter consisted Of a set of variations by
Wekerlin = vocal dance tune found in Thovinet-
Arheau's famous ''Orchesographie treatise on
the dance published in 1855, with words beginning
c56Ilsaq cBsIIs qg5 gsrs stens rs. ma ma Ete
The variations contain some suggestions o. the
manner OF accompanying dances four hundred
years IL one instance (Which might be called
the Basque variation but otherwise the spirit Of
the music outside ielishtfu! melody was
somewhat too modern in harmony and orchestra
ton 70 he set down a characteristic expression
OF sixteenth century music In the same spirit
Of fsuItfrdnE but Of historical expositon) il
vas depIorsble that the translator Of the first Of
the TWO Bach cantatas did not have sufficient
wisdom in his translation Of the title 70 indicate
that the significance Of the title lay II. the sub
srantivA Shepherd C'Du Hirte Israel') for that
ore word ''Hirte' would have explained the pas
toraI character n rVo IF the four movements Che
first and third which Christmas music Of
pronounced kind. But the translators ~ musical
works have many artistic sins Of this character 10
answer for The choir. NJ about forty voices. sang
creditabi- and its work. Of the orchestra
gained much from the intimate relationship which
alRsvs exists in Mr. Franko-s concerts between
the performers and the listeners-an intimacy
which has much 70 do with the enjoyment which
this old music affords II would be pleasure %
say the same of the singing Of the recitative and
air in the first cantata by the tenor soIoist but
that is quite oE the question. The three Bach
solo singers Miss Laura Combs, soprano; Mr-
Clifford Il. Adams tenor, and Mr. Frank CroXton,
bass. The audience vas handsome in number and
abundantly app-eciative. H Z X.