New-York tribune., 1908-12-28
MUSIC
wAeNER's MUSIC IN CONCERT.

Wagner concerts less numerous than they
were a decade ago. and there are other signs thaI
the Bavreuth composer has already taken his lofty
place among the masters about whom there Is no
longer any controversy. and In whose works there
is musical but polemic interest Now ana
again, however orchestral programme IS oHereo
which recalls the familiar questions as 70
how far IL is justihable transcribe for concert
performance portions of Wagner's scores that are
essentially ntertwined with the and the ac-
ton of the music dramas to which they belong.
Such an occasion was provided yesterday sftef-
noon at Carnegie Hail. when Walter pamroscn ana
the Symphony Orchestra gave concert OF Wag-
ner's music which included new arrangements oy
the conductor of the ST Johns Eve episodes from
Die Meistersinger' and OF Siegfried's adventurous
climb up the fire girt mountain in the fnai scene
of the drama bearing his name. The usual conten-
ton against such trespassing upon operauc terri
tory is the futity trying 70 convey through the
music alone, what the composer sought 10 express
with the added help of singing actors and stage
setting When Wagner's music dramas are pre-
sented in their complete form In an accessible opera
house the argument continues, why offer frae-
rnents to the public? Probably there was more
in this reasoning fifteen years ago than there
is to-day. although in theory, at least. II Is not
easily combated. OF late. however. there mas
grown up. quite gradually. but still perceptibly
tendency to lay greater relative stress upon tne
function of the music In Wagners operas. ana less
upon some Of the dramas themselves. than the COM
poser would have sanctioned This applies rather
10 the NibeIung cyclus than to "Dfe Meistersinger
or Tristan but II is worth mentioning as per-
haps bearing upon the course pursued by Mr Dam
rosch in making the transcrptions above referred
to- especially In view OF this conductors own pro-
nouncenent of his altered Wagnerian opinions in
his fPelIeas ct Meisande' lecture Of last season
Tested by the Symphony Orchestra's performance
Yesterday. there no doubt that the "Meister-
singer arrangement gave keen pleasure 10 the
large audience, and that, however different It's ef-
feet from that gained in the theatre. 1t exerted
potent spell the listeners. The "Siegfried' ex-
cerpt despite the skill with which Mr.. Damrosch
has treated IT, falls considerably short OF COM
muncating the stir and impulse. the bounding en-
ersy of the irnpetuous hero and the awesome 81
Ience and mystery OF tine summit Of the Nalkyrs
rock IT leads the hearer 10 expect q revelation,
and then stops short OF disclosing It.
Besides these two ARA ngements, yesterdays
programme included the ''I>ohengrin prelude. the
Introduction to Act III OF 'Tannhauser," with
EIizabeth's prayer; the "siegfried Idyl' and the
prelude and finale 10 Tristan the Lebestod being
sung as was the prayer from '"Tannhauser." BY
Nine. JomelH. The orchestra played with beauty or
tone but there were several slips. notably In the
Tristan prelude and here. too. there was less or
eloquent and passionate appeal than could have
been wished. This music should be freighted with
the significance and intensity that might attach 10
the utterance Of man about to die and conscious
OF great message TO give to the world The
'Siesfried IdyI'' interpreted with sensitive
regard for dynamic values. and II was pitched In
a key OF hushed and tender beauty.