New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1909-03-05
MUSIC
CONCERTS AND OPERA OF A DAY.

/
/ Ludwig WILMER and Hialmar Dameck and a
/ small company Of associates made music in public
/ concert rooms yesterday and there perform
! ance OF opera at the Metropolitan Opero House
! Quite enough music for such a day all who
braved the weather were willing to admit too much
thought those remained at home Some of it
might, indeed have been spared without loss 10 the
/ present state of the art in the city. The French
I Quartet which has a vague that hear
! ing Il does not know whether to expect bowling
! or blowing ballading. was first in the field at
Mendelssohn Hall. 1t proved TO be an organiza-
! ton which, TO judge by the OF it's members
and the complexion of its programme is composed
! or French musicians who seeking do some
thing in the special field OF French chamber music
The three compositions played Yesterday were all
written by NJ SaInt-Saens. but il is scarcely be
thought that that gentleman's music is the be-all
and end-ali Of the quartet's striving But whether
the purpose of the musicians to win recogni-
ton for national art only of its representa-
tves. the efficiency of the effort open ques
ton It is better TO make good music than poor
propaganda A poor performances can benefit no
cause, least OF all separatisu in at which the
world is disposed look upon as cosmopolitan.
The gentlemen who compose the French Quartet
are two brothers Daniel and Armand Ladoux,
players respectively, the violin and violonceno:
Remand Pnel violist. and Joseph AlIard. pianist.
They are artists Of unequal merit (the cello play
er seemingly the ripest) and their playing does
not disclose great familiarity with chamber music.
1t smaeks Of diettsnts gatherings in small rooms.
IF they purpose persist in their efforts they will
nave difficulty fin making Roadway against older
and more seasoned players. There was never
great an activity in the chamber music field at
present The compositions by Saint-Saens on yes
terdays programme were the pianoforte trio in
+ major, OPP IS; the sonata for panoforte and
violoncello in minor, and the pianoforte quartet
in B fat. Op. Al.
The concert Of the Symphony Society In Carnegie
Hall, also in the afternoon was the fifth in the
series devoted Beethoven's compositions The
period comprised by the programme from 1912
to 1875 and the principal compositions were the
Eighth Symphony and the "Fdelio" overture It IS
no reflection upon the music to say that il
all Of comparatively light calbre. The symphony
Is an iridescent gem of humor, now exquisitely
graceful, now audaciously rude, but II bears
deeper message. The overture walks nodestly in
the company Of lis great and sanity sisters which
men and angels call "Lseonore."
The only other orchestral number in the scheme
was the Turkish march from the incidental music
10 hotzebue's Ruins of Athens" This highly col
ored bit of january music caught fancy Of the
audience and was played twice to crafty enthu-
siastcally expressed wish. In keeping with the
prevalent spirit Of the occasion we're four Of six
songs sung by Mr. Frederick Weld. First there
was group Of four of the Scotch songs which
Beethoven provided with preludes, postudes and
ritornelH for pianoforte, violin and violonceo. OF
these the first and third C'Jhe Upon the Weird
Hnl' Faithful Johnie'D of serious
and sentimental cast the second and fourth t''Oh.
Sweet Were the Hours and "Bonny I.addIe. High
land Ladder OF a merry. Merry, too the
both Of which Mr.. Weld sang in English. to the
obvious satisfaction Of the listeners. to whom the
humor OF the settings was thus brought home.
Mr. Weld sang well and supported most
ceently by Mr.. pamrosch in ali the songs and
by Dir. Damrosch. Mr.. Salavsky and Mr. Refer in
the Scotch songs. There were moments In the per
formance of the symphony when the listeners must
have wondered whether Mr.. DamTosch knew how
dlsTessfuy loud his blowers OF brass were playing
Joincident with the beginning Of the metropolitan
opera season last fall Dr. Ludwig Wilmer gave his
first recital In New York A. matter Of strict
record il was In the afternoon of the Saturday on
which The operate hosts made trial or tn" Acad-
envy OF Music I'm Brooklyn The date do@s not mat
ter. 1t was about four months ago The point OF
interest in story is that pr Wulln@r surprised
an audience which did not MI Mendeissohn Hall
then whereas last night p" was not even himself
surprised 10 face the crowded concert room ~
Carnegie Hall The programmes or tho two Affairs
were Identical. but the few who heard the singer
in the smaller room had great advantage over
those OF last night Theirs was The opportunity 90
enjoy the quality Of intimacy which is essential
to she FOIL enjoyment OF song singing. Yet the
UNDUE art Of Or. WILMER carried its message
home even in Carnegie Han thanks 10 the purity
and finish Of its manifestation. His voice did net
benefit from the larger space, on the contrary. il
suffered in volume quality. But there was still
enough Of it to be an effective vehicle for the
marvellous dicton which blends musical and
bal utterance in union the ike Of which can BE
heard only At Or. Wullners recitals His success
has been ono of the deeply gratifying incidents OF
a season which has frequently donned motley but
has also appeared in disniied and beautiful garh.
concert in which the personal equation was
So large that artistic purpose could scarcely he
discerned was that given ny Mr.. Ejalmar
pameck IN Nendelssohn Hall last night Mr.
Won Dameck is a volinlst who. II IS fair 10 sup
pose is DESTROYS 10 attract publo attention TO him
self The purpose IS laudsble. More laudable stu
was the manner in which he went about ii to
achieve his end. lie laid down a large and urCon-
venrional scheme. and called to his help no fewer
than nine other musicians TO exploit II. Thus. with
Mr. August Fraemcke J. hovarik and William
Fhann Mr. Won Dameck played Dvoraks piano
forte quartet in i fat then, with f. Foerstel, he
rlaved A suite in minor for violins the
pIanoforte accompaniment by g. Kritzler. Finally.
with Mr. Foerstel i. LorinE-Smith. J. Spargur.
l. Kovarik F. Schmidt. Mr.. Ebann and MIR. Won
der Mehden he brought forward an octet for four
yioIins two volss and two violonceilos. by X
.,Iisre = Russian composer. whose name has ap-
rAared we believe. but once before on local bill
Here would have been a feast OF music had not
fuIdlment aInbled far I'm the rear Of promise.
Chamber music does not submit TO violence, and
one may he excellent musical handicrattsman
snd never penetrate its lovely mysteries ones self
ar omen TIE doors 30 others. But such measure and
s,,cb kind OF appreciation as an audience Of anna
bile disposition could give Mr. Won Dameck re-
ceived and doubtless the concert served It's pur-
pose
the Metropolitan last night. with all the people OF
the seasons original cast back in their parts. Once
Mr. Caruso sang in II with Miss Aida and once
Miss Fsrrar sang in It with Mr.. Jorn: last night
the admired soprano and the thrice admired tenor
met again. and when they sang as passlonately as
they could the listeners seemed delriously happy.
II. E. X
DR., WUELLNER'S SEVENTH RECITAL.
Though he may lfave condemned and condemned
himself thereafter Heinrich Heine would have