New-York tribune., 1909-01-08
MUSIC.
ELMAN AND THE BOSTON ORCHESTRA.

None but the truly memorable musical occasions
OF the last decade in this city could provide
parallel for the artistic delight conferred last nint
by the Boston Symphony Orchestra at Carnegie
han upon the splendid gathering OF auditors that
hiied the great room There are concerts designed
10 please mainly the casual listener and other
concerts avowodly intended TO the connos-
seur' but 1t is none too often that. was the
case last evening, programme can be so arranged
and so translated into musical sound to capti-
vate both classes of hearers The list OF pieces pre-
pared by Mr.. Max Fielder for this concert was
short, but skilfully chosen. and each work was
thrice admirably played. Heinrich Noren's "ka-
leidoscope' theme and variations, Op- 30 was the
evenings novelty, ana after 1t came the Beethoven
Vlolin concerto, performed b. Mischa Elman, ana
strausss tone poem, Death and TRANSPORTATION"
These suff1ced to fill the space Of two hours with
thrilling musical beauty and their respective per-
formances were worthy in every way of the very
best traditions of the Boston orchestra. In the
superlatve doings of the evening young Mr.. Elman
played distinguished, indeed, an extraordinary
part setting a standard by which he must
hereafter be judged.
Heinrich Noren's name Is new TO local concert
rooms. but II scarcely fail to become better
known here, for the theme and variations heard
last night prove him not merely a master of or
chestral writing but a musician of fertile ideas
and Of genuine feeling The title. Kaleidoscope"
suggests the combinations that scintiliate
through these variations out II fails to convey a
sense OF the moving and compelling beauty that
gives this work character and power. The original
theme is simple enough, but the eleven variations
extract from 1T world of rich color and OF elo-
ouent meaning. without straining the bounds
Of pausbility. so to say. or exceeding the limits
OF orchestral good taste. Whether Noren carries
the listener through the measures OF ''rnournfui
dance, into the regions of idyllic and mischiev
humor. sets him in the dim nave of a
vaulted cathedral land he does all these things
and many more), this music is legitimate and sin
Even the final variation. entitled 'To Cele-
brated CONTEMPORARY. with highly ingenious
play upon Richard STRAUSS ''Hedeneben' themes
strikes having musical we'll as technical
interest. incidentally, II is not easy why
Strauss's publishers invoked the law. in Ger
many, TO prevent publication If Norens score on
this ground since the quotation is in respects
superior TO the original.
Mischa Elnan's performance of the Beethoven
concerto REINFORCED the impression gained by his
previous playing OF less serious music and pro-
claimed him. beyond all doubt, mature artist of
high rank and still higher possibilities Elrnan s
present stage OF development corresponds to the
first period so-called Of many great composer
or painter OF the past. What he does now is as
perfect in it's way, as could be wished. His play
ing has the fneness and precision contour the
frmness. the strictness. OF line that is one
Of the precious qualities of youth. When EIman is
ten years older there may be larger sweep. a
freer touch IN his playing but it could well be
purer intonation Juster trueT in its phrasng
appreciattve OF every nuance and shade
Of the com poser's meaning. II good to hear
him perform the Beethoven concerto. and there
will be high anticapatons OF his promised playing
OF the Brahms concerto at tomorrow afternoon s
Boston Symphony concert
Strausss Death and Transng7rration" has sell
dom. II ever. achieved finer effectiveness than
under Mr. FiedIer's ninstrations last evening.
There is noble music in it, and II was nobly set
forth