New-York tribune., 1909-11-20
MUSIC
THE PHILHARMONIC SOCIETY
A Concert Of Beethoven's Music.

The first of five concerts 10 be devoted
exclusively 20 music composed by Reetho-
ven projected by Mr.. Mahler FOR the Phil
harmonic Society took place in Carnegie
Hall yesterday afternoon. The programme
consisted % the symphony I'm u CNo . and
the four oyertures which at different times
Beethoven wrote FOR his opera "Fidelio"
Mr.. Mshler threw over Its original ar
rangement, which contemplated first a per
formsnce 81 the overture which bears the
name % the opera. then the symphony and
then the three overtures surnamed Leo
rone." Leonore" was the original ;itle OF
thc opera. but was abandoned because an
Italian work composed by Pacr treating
the same subject had been brought for
ward Ga Dresden IN the very year that
Beethoven undertook 90 write an opera for
the Thoalcr an der Wien. Mr. Mahlers
rearrauEomeut did no greater violence 10
chronological sequence uhsu did the origi-
nal plan. u had tho effect of variety In its
favor. for il separated the ''L-onore' over
tures Nos and 3 which closely resemble
each other tas naturally they must. No.
being only a revised version of No p by
rwo compositions II lighter calibre and in
dependent import. one Of which, indeed.
might have been associated as music be-
fore the curtain" with any drama not too
serious IN its contents. as well with the
''TTideio." and j. now almost. IL not quite,
universally used as an introduction 10 the
opera. Mr. Mahier began the second part
0s the concert with this overture. having
played the 'Treonore No. s. after the sym
phony IN the first part The chronological
sequence illustrated by the scheme as re-
arranged by Mr.. MahlsT Wss as follows.
symphony lso2; "L"onore No. g." lSe6;
'.F1delio." lSls; 'LeOn0re 10. L. lSoe, Leo
more No. B." lSE.
II was long thought that the overture
known as 10. ] was the one originally
composed FOR the opera. and that ii had
been put aside as too light in character
% at the play. Marx accepted the history.
hut condemned the judgment which put
something like an indignity upon the com
position. He thought II an excellent intro
duc;iuU. a. depicting the happiness Of the
heroine 0f the story before misfortune had
come upon her. Hearing II IN the concert
r1e-r after Nos and 5. n seems difficult
D., believe that il did not precede them.
tlt was actually written while their meas
urss were stiu ringing In the composer
mind. TIE poetical and psychological plan
90 30. Is incomparably larger. lofuer.
more profound. Yet TO the evidences ad-
6uced 1y the fact that nine years later
Beethoven could persuade himself 10 write
the overture which has no thematic or
rsychoIocical association with the opera
comes THE proof found by Nottebohm IN
the ske;chbooks. that No. ] was written
fo- Prague. after the Nienaese revival of
IslS and We can only wonder that the
mind which could create No .. then pat il
again luJo the crucihle and bring Il forth
az 40. g. could yet bow 10 popular taste
or managerial eNlrediency and offer No
and q 'FIdsl0" ar an introduction 20 50
how =
opera
u there was any ground for Quarrelling
WIKI Nr Nahlor's arrangement Il was
found n tile auti-clirlaX which came from
PLAYING SO 8 before 40. . There is com
plete community Of theme between the two
works, but the revision vas in The truest
sense . work OF Original creation No. ? Is
a wonderful dramatic overture, No. is
The drama itself. subliIlated, freed FROM
the clogs OF the stage. in one sense raised
20 q higher power i was with q peculiar
thrill Of interest that yesterdays JuX-
Imposition enabled the discriminating lis
tene-s 70 note how infalliby Beethoven had
put his ruger on every comparatively weak
spot iD the first work written and strength
ened Z. How in the orchestration healing
cane IL every instance from eIisious. how
much was gained IL impressiveness 81 the
outset by continuing the solemn unison
phrase tustead OF repeating its opening
Inotives how marveuously the climax was
wrought up after the trumpet call by ths
k~estrickeu music drawn from the scene
81 the opera. which IL 30. takes the
place of q recurrence 10 the first subject
of the overture. how great was the gain
s1lade t,y substituting the frenetic reJOicingE
AZ the flute "a passage which ennObles thar
Instrument for the reminisoence OF Flo
restan's scena. how much stronger and
Eteadier the development up 10 the coda.
But al this would have been brought
clearer 20 the notice OF the hearers n
Mr.. Mahler had made a crescendo from
40 70 No. instead Of q decrescendo
from 10. 10 No. . through the 'Fidelio''
and No ]
As for TIE playing of the orchestra and
the reading of these works. there were
high lights and low yesterday. and the
audience respectable In size, was never
moved 70 great and unqualified rejoicing
The high lights were IN the vitality which
was never missing and IN the variety Of
nuan-e. the low IN some erEatic phrasing
Enc impurity Of tone. The band is stin
young. and too much must not be expected
- it- but there must be greater homo
Eeneity OF tone. truer intonation in the
V-ood-Wind instruments and less general
restlessness - II Is 10 take its place with
the organizations which il hopes 10 rival.