New-York tribune., 1909-03-03
MUSIC
A CONCERT OF ARCHAIC MUSIC.
Refreshing Cantatas BY Bach.


There music for jaded appetites in Mendels-
sohn Hall last night; music TO bring refreshment
TO minds weary Of the endless food of operas, sym
phOnies and recitals of vocal and instrumental
music which has poured across stage and platform
since last autumn. 1t refreshing and 1nvigor-
ating, not only because 1t unlike the music OF
which the days and nights now full, but be-
cause it was sound, sweet. unaffected, all OF II,
some of it profoundly tender and some of 1t up
Hftingly joyous. The concert which brought TINS
benison the second and unfortunately last, of
Mr. Sam Franko's concerts of old music-'old
music Quotha! Young music, ever young as the
jocund spring young alas! because 1t is thought
too old TO make appeal to the masses VINO thlnK they
listening to music when they are looking at
disrobing dancer. But some day the music or Bach
will be neither young old, but music OF the
day-Bach. and Mozart. and even Porpora- The
last name will probably cause a start OF surprise
Whoever saw the name on a programme before?
Surely OF this generation in New YORK or
of the generation before this DID grandfathers
hear 1t? Doubtful. Porpora is name in the BOOKS
which talk of the old art of singing: the name OF
the singing teacher who taught Farinell, who
created cult in London society of which we. with
all our tenor worship. cannot even form an ldea'
the taskmaster who kept Cafarelli at work on one
page Of exercises for five years, and when at last
he asked for Something new told him there was
no more for him to learn but to go out into the
world the greatest singer in 1t.
How few, except those who study the books, knew
that he written not only operas for his singers
but masses and instrumental pieces? And OF these.
how very few. If any, had living knowledge Oh
what those pieces like? Mr. Franko brought
a fragment of such knowledge TO his small but
vastly interested listeners last night He played a
"Sinfonia tire instromenti'' which was OF beWltch-
ing charm. It was really a symphony for four In
struments (even counting the double basses with
which the 'Celos doubled at times as one) TOT
at the pianoforte Mr.. Carl @. Deis played an ac-
compartment based the continue which had an
independent significance, much more was II than
a mere filing up of the harmonies. The music.
two allegros separated by adasio. the hrst with
a slow introduction was every bit sound and
fascinating in its polyphoniC writing as any con-
certo crosse by Corelli or the old singing masters
instrumental contemporaries and ought TO be heard
again And still again corrective and tonic,
for all music like this has double mission now.
After the sinfonia, which played by a small
orchestra of strings which sounded large because
it was In proper environment, there came COM
position by Bach which suggested the remark
made above about the deep tenderness TO which
the concert gave expression It was one of Bachs
church cantatas. Another Of these brought the
concert 10 close after gracious change of mood
had been established by performance (again by
the orchestra of strings) of Mozarts merry sere-
made entitled Zine Kleine Nachtmusik,' which
Mr.. safonof thought large enough, despite It's
modest title, 10 be included in scheme of the
Philharmonic Society. OF it nothing need be said
beyond the record that its final merry rondo 50
captivated the audience that II was redemanded
The cantatas which enlisted the services of
some solo singers. Mr.. Franko's Bach Choral So
ciety, Miss Jeanne Franko cat the pianoforte, MI
Deis again helping but on the organ and
players Of wind instruments and a kettle
drummer. we're "Komm suisse Todestunde, and
"Gott der Herr ist Sonn' und Schild
Bach's church cantatas have appeared at long
intervals on the programmes Of the Musical Art
Society the Church Choral Society. and one or two
other organizations in times agone. They are ad-
mraby fitted for Mr.. Franko's enterprise. which
has for its aim the awakening OF interest in music
generally considered archaic. and he has given us
some of the finest specimens in the Bachian Htera-
ture. But their place in worship music Is not
widely appreciated They belong 10 a style of com
position which in vogue In Germany in the lat
ter part Of tho seventeenth and early part OF the
eighteenth centuries They were written for the
various festivals and Sundays OF the ecclesiastical
war. Thus the first heard last night originally
composed for the sixteenth Sunday after Trinity.
but afterward adapted by Bach for the festival Of
the Publication: the second for the Reformation
festival. Each cantste had for fundamental sub
ject the theme which formed the burden Of the
service for the day. In harmony with the theme
(also treated by the preacher IN his sermonJ was
the principal hymn of the day. which was made to
play important part in the composition. once,
ct least in the course Of the the hymn for
the da,- was brought forward Sometimes if was
worked up as a cantus fTIuus in elaborate IN
strumental or choral and instrumental Introduction
This was not the in either Of the cantatas
performed last night, but the relationship between
the hymn tune and the first number in the RetoT-
Cantata established by the use OF ii'e
principal subject of the Introduction in the figured
accou-anirnent of the Chorale The hvmn is one /
that fell famarly into the ears Of the Protestant
churchgoers who heard it last night, for IT was |
Now thank We all Cod which has got into |
the hymnbooks OF all Protestant denominations. |
IN the first cantata the hymn less familiar Eng
lish or American ears. the Chorale "Herzhch |
.hut mich verIangen' which has particular his |
orical interest the fact that II illustrates the
genesis of quite a number of the congregational |
8 q u-aS Onr
melody was retained for divine worship; the words
we're d pious paraphrase. The phenomenon was |
not native 10 Germany alone; it was found also in
and France.
Between the choral numbers in the cantata were
placed prose rectatives and metrical ariosos, in
solo or duo form Uhere illustrations of both
'orms last night, in the nature Of commentaries
,r reflections on the sentiments of the hymn or
yosuel lesson. What marvellous use of this device
Bach was wont to make illustrated last night
II the first cantata. It's subject is the immortal
oneine'' for death An alto recitative publishes
he longing and invokes the final knell- Imme-
lately the myriad minded old composer rings the
1assing bell in the orchestra-not with the clang-
ng metal but with a wonderfully striking imta-
ion in the bassos and flute. That was long ago;
mt Wagner rings a bell Of flute and harp tones
in the first scene of "Tannhduser-"
But the subject cannot be pursued further. else
here will be time for the record of performance
he record OF success achieved and the record OF
,ratefuI appreciation challenged by Mr. Franko
md his forces. Even now all but mere mention
must be left the Imagination. Those who en-
Dyed the refreshing mnistration will know how
q supply the enforced omission. The solo singers
earned contraltos; Frederick Gunster. tenor, and
iuy F. Evans bass. All sang with intelligence and
eaL H. E. X.
TSCHAIKOWSKY AND WAGNER.
Music by Tschaikowsky and Wagner no longer
,,-.I4yE F,r