The sun., 1910-01-31
CONCERT OF MODERN MUSIC
SYMPHONY ORCHESTRA PLAYS
DVORAK, LOEFFLER, LIADOW.
The Pagan POem" OF LoeHier the Fea-
ture OF New Theatre Matinee, with
Heinrich Gebhard as Pianist-"FrOm
the Days Of Old" Russian Novelty.

ture OF New Theatre Matinee. with
Heinrich Eebhard 40 Pianist-"FrOnl
the Days OF Old" Russian Novelty
The parsonage most importantly con-
cerned in yesterday afternoons concert
Of the Symphony Society Of New York al
the New Theatre failed to appear. He
was Charles Martin Loeffler. formerly OF
the Boston Symphony Orchestra and nov
Of Medield. Mass. where his ministra-
lions and influence have given some
celebrity to the music at the local Roman
Catholic church. Mr.. Loeffier's @PagaI
Poem" for orchestra. pianoforte, Eng
lish horn and three trumpets OF stage
was conspicuous number on yesterday
programme. and others besides himself
had made pilgrimage from Massachusetts
to hear it. But despite the applause anc
much craning of necks by the audience
Mr.. Loeffler chose to remain invisible.
Besides the Pagan Poem in which tbs
pianist was Heinrich Gebhard of Boston
Mr.. Damrosch and the orchestra per-
formed Dvorak's symphony From the
New World" and n new ballade, From
the Days OF DID," by the Russian composer
Liadow. There was a large audience
present and the orchestra played as
though put on its mettle. The general
effect was also helped by a stage setting
With rounded corners. tried for the first
time at these concerts, which seemed to
improve the acoustics OF the house.
The Pagan Poem had already been
played here. the Boston Symphony Or
chestra having introduced il to New
Workers several seasons ago. Its pro-
- + ~ 80 -,
salian girl. in Vergil's eighth eclogue. who
gave absent treatment TO Daphnis, her rec
reant lover until he returned to her from
the distant city. With incense burned
upon altars, with libations and burnt
offerings of aromatic herbs, and most Of
all with songs. did this devoted maiden
weave her magic spells, until the absent
Daphnis could resist no longer. The
trumpets that had sounded the refrain
Draw from the city, my songs.
Draw Daphnis home.
Joined the swelling chorus OF trium-
phant welcome that greeted the returning
lover at the conclusion.
mir. Loeffler's score was well worth
hsIring again. Like all his music II
breathes spirit of sincerity and of beauty.
This composer has gone far along a road
nearly parallel to that Of Debussy and
other advanced Frenchmen. Like them
Of his individuality of thought to the
development and exercise of a manner
vet he remains an uncommonly inter-
esting musical figure and a man OF dis
tinctly original powers. There is evi-
dence enough of this in the Pagan Poem"
which establishes a mood and maintains il,
the Thessalian girls hopes now running
high and again fiuctuating toward doubt,
but always finding expression in vigor-
GUS action and utterance. II may be
said frankly, however, that this score.
with all its lavishness and ingenuity OF
design and decoration, does not ap-
nroach in power or grasp that by which
Mr.. Loeff1er ia best known and admired
here. The Death OF Tintagiles," written
with Maeterlinck's poignant and pitiful
little drama as its background.
Yesterdays performance OF this music
should have pleased the composer. for
Mr.. Damrosch conducted with enthusiasm
and the orchestra PLAYED exceedingly
well, while Mr.. Gebhard's pianistic share
OF the work was marked by sympathy
and a singing tone,
The Liadow ballade proved 10 be a
dainty and pleasing work. with piano
forte oblgatn, suggesting the striking OF
a stringed instrument by a singer Of
Chivalric exploits. The theme on which
it was chiefly based partook of the folk
song character. The well of Russian folk
song is a deep one. and the path 10 its
convenient bucket has been travelled by
every considerable composer of the ma
ton, from Glinka N Tschaikowsky.
The New World" syp' phony was good
10 hear once more, and here too the
orchestra showed its quality. while the
gain in sorority due To the new stage
setting was noteworthy.