New-York tribune., 1909-12-13
MUSIC
THE PHILHARMONIC SOCIETY.
Mr. Mailer and Beethoven's Fifth
symphony.

The Philharmonic Society had no oppo-
sition yesterday afternoon. when il gave
its second SUNDAY concert there being no
concert at The New Theatre The audi
ence was not numerous enough 10 cause
comment on that score. but il was largely
composed OF connoisseurs and there was
frequent and cordial expression OF admira-
ton for the music The programme con-
sisted OF four numbers. all Of which save
one had been heard before since the open
Ing OF the season. They were Beethoven's
symphony in c minor, PLAYED by the Sym
phony Society on November IA and by the
Philharmonic at its second historical con-
cert on Wednesday last: Liszt's pianoforte
concerto in A major. Miss Yolanda Nero
playing the solo part as she played II
when she effected her entrance on the
American concert platform on November
J. Richard strauss Till Eulen nspiegel's
Merry Franks" played by the Philhsr-
monic Society at its first brace Of concerts
on November and and by the Boston
symphony Orchestra on November IL
hnally. the one addition 20 the seasons
list. Dvorak's ''Scherzo Capriccioso." long
n popular display piece of local and visit
ing orchestras. but rather neglected OF late
years. II took on a special interest yester-
DAY from being brought into contact and
comparison with Strauss hewilderinEly
brilliant musical Joke. and il was pleasant
10 discover that IL held ITS own against the
newer work I'm the essential value OF its
material. in its ingenious workmanship
and also in the variety and freshness of
its instrumental color The two compo-
sitions served TO disclose that Mr.. Mahler
is rapidly making a joyfully responsive
and flexible instrument out Of his band;
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made by master and men in the sym
phony, To which some attention must be
given presently. As for Miss Nero. she
appeared 10 much better advantage than
On the occasion Of her debut. because OF
the support received from the orchestra,
though there was more tinsel than solid
metal in her performance.
The applause which followed every
movement of the symphony was loud
enough and enduring enough 20 compel
Mr. Mailer repeatedly 10 bow his acknoVl-
edgments. There was no question or its
sincerity ard that IL had been evoked by
a performance the power and eIoqusnce Of
which made an elemental appeal which
could not be resisted II was possible 70
feel this appeal and respond 10 it. even
while recognizing features in the perform
Snce which raised questions Of artistic
ethics Is well as taste. The public having
neither the disposition nor the capacity as
a whole 10 weigh such matters. it would
serve no particular purpose 20 discuss
them, II IL could be said that any ap-
probable portion Of the effectiveness Of
the performance was due 10 them Except
I'm a single instance however, when an in
crease OF sorority, which no doubt quick
ened the pulses of the listeners. was
40 hr- - .-1
apparatus as conceived by Reethoven. none
Of Mr. Mahler's amendments Of the classic
text seemed to accomplish enough 10 Jus
tify the liberties which he took. They
were All the more deplorable because the
general reading was free from eccentricity
Of tempo o. nuance except in the third
division. which moved With Ieaden feeD
and the same potency Of expression would
have been attained had tho music been
played as Beethoven wrote il. Mr.. Mailer
did not think Il necessary 20 broaden the
tempo OF the opening measures Of the
symphony to make the fundamental
theme OF the work sound like an introduc-
ton: nor did he eXaggerate the fermate
as many conductors have done who have
taken a hint from Wagner and out Hercded
Herod in applying f. He waited till the
illustrative second section OF the movement
began before he put the large emphasis on
the theme. very much Mr.. Weingsrtner
did when he conducted the symphony three
years ago. He used some violent accents.
but they all had Justification in the deveI-
opment OF the music, though an occasional
excess revenged itself by slips in the brass
voices. Save in the third movement. In
which MessTs. Thomas Seidl and Vein
gartuer always found themselves IN agree
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metrononlic Indication. he was normal IN
his choice OF the fundamental tempo.
though he exercised the unduestioned priy-
lese and duty Of a conductor IN giving II
elasticity. The first evidence Of errsticism
occurred in tho famous csdenzs. in the first
movement.
This Mr. Mailer phlebotomized by giving
II 10 two oboes and beating time for each
note-not in tho expressive adagio called
for by Beethoven, but In a rigid andsnts
thus the rhs psodic utterance contemplated
by the composer was turned into a mere
connecting link between two parts OF the
movement. Into the cadence Of the second
subject Of the third movement Mr.. Mailer
injected bit Of un-Beethovenisn color by
changing the horn parts so that listeners
familiar with their Wagner we're startled
by hearing something very like Hagen's
call from "GotterdammerUng' from the IN
struments which in the score simply sus-
tain a harmony voice in octsves In the
finale Mr. Mailer several times doubled
voices tbassOons with 'cellos) and trans
posed the piccoIo part an octave higher
Here he secured sorority. which aided him
in building up thrilling climax. but did
not materially disturb Beethoven's color
scheme. The question OF the artistic right
eousness of his act may be left 10 the de-
cision OF musicians. Yesterdays audience
accepted the result with sladness