New-York tribune., 1908-02-09
MUSIC.
BOHEMIAN AND RUSSIAN MUSIC.

The audience a; .he fourth Symphony Concert
ar Young People in Carnegie Hall yesterday after
,,aoa heard compositions from two schools Of
-a,s.c which very much in the public ear Of
late and also invited by DIT. Frank Damrosch
50 observe characteristics OF the telssonE
o5ies ron which the artistic music OF those schools
i based The compositions were Bohemian and
Russian. and.- pursuing the plan which found
- ne both eaifyinE and entertaining al the earlier
concerts q the series. Dr namTosch spoke brie ay
~ -Ac folk-rlusjc OF Bohemia and Russia intr O.
5sscsnc songs which sung RiSh fine effect 10y
sfr A GregoroH-ich Janpolski. and followed each
e-o7fn with orchestral works that either made use
- ore or another of the songs echoed their
spirit Also he brought forward Mr.. Fritz Kreis-
Ier Rho played the solo part Of a Fantasy on Rus
sisn themes for violin and orchestra composed by
T7--sl1z- -Kor~a koH This feature OF the programme
rs so much 10 the liking Of the iInpressionabie
listeners little and big. that ii only after
loaE interruption thai the programme already
quite long enough, could he proceeded with.
More than 1He-t birds Of The CONCERT was devoted
n tae music Of the Russians. whose folksongs as
~ have frequently had occasion 20 say. are the
,,oet varied and beautiful In the entire field Of
erhnolosical music The cne orchestral number
from : Bohemian composer vas Dvorak's "Iu-
ssrzsa- overture. TO introduce which Mr. Janpolski
ssns secular soEc. "Wsak nam tax. nebude'' the
f-s- two measures or which provided Beethoven
MA the motive fo- his great trio IL B fat tOp go
ard the Fussite battle hymn. ''Kdoz ste hozj be-
.ozujcy'- which Dyorak used as the second theme
= MS splendid overture. and Smetana in his SYM
rro~ic poem Tabor The present writer told
-be history of this hymn in study OF Bohemian
-,si- printed IN The Tribune some eight or nine
wears sco The tale sounds bit fantastic but there
Is 70 ground for questioning its substantial truth
T. dates back 70 the fifteenth century, and on
August =. 1881, it created such panic an army
q one hundred and thirty thousand crusaders sent
r The Pope against the followers OF Huss that
--vel-e Thousand fEussites routed them completely
shifting them hip and thigh II al the battle
a Tzus Before the Catholic army was within
srriknC distance the hymn heard rising from
tie twelve thousand Husse throats The great army
turned and fed. but was pursued and overtaken;
r1zuy were killed and their camp was captured 1t
Is indeed. inspiIiting war song, such hymn
As would have served Cronlwell's Roundheads had
rhes permitted the flower Of at 10 grow in their
hea-ts -'Ye warriors OF the Most High and His
laws the text. pray Him for heap
snd trust II Him that il the end ye always tri-
rrph R1th Him" And the meody-each syllable
blow. each blow inlplaca bic. rnerciIess horrifc.
TIE orchestral pieces from Russia besides the
fantasia for violin and orchestra were a Suite by
IAa6ov. consisting OF arrangements OF foIksong
melodies liz played here recently by the Rus
san Symphony Society. Glinka's ''komarinskaja'
and Tschaikowsky's 'Aiarche Slave in which the
melody of the Russian national hymn is introduced.
This, TOO. sung by Mr.. Janpolsky. and from q
political point Of view may be said 10 have offset
o.. Wan for Freedom C'Starei kurgan''1, which
preceded IL Tire other songs were from both little
and great Russia, and varied in sentiment,
though the Characteristic heavy -heartedness OF
Russian folksong was predominant The most ef-
sectiye the pulling song of the bargemen Of
Ire Tolsa- Az ouchnenl." =" which forms the burden
of the second act of Giordanos opera Siberia,
rov current a. the Manhattan Opera House