New-York tribune., 1911-01-16
MUSIC
The Philharmonic Society and
Nine. GadSki in a Wagner
Programme.

The days are past when concert devot-
ed to Richard Wagrer's music could claim
attention as an event Of extra musical char
acter; that period ended with the last OF
the German regime at the Metropolitan
Opera House nearly twenty years ago Yet
something Of the old time magic still en-
shrouds, for many lovers Of the art, such
a programme as Mr.. Mailer and the Phil
harmonic Society. with the help OF Nine.
Gadski, eftered yesterday afternoon at Car
ncgie Hall. II was made up wholly Of ex-
cerrts from the Wagnerian volumes, and
there came to hear it performed throng
Il at appeared to i'll every seat in the house.
Moro than that. the listeners gave close
heed to all that was played, and manifested
keen enjoyment of the whole list, including
the opening number. which was the unchar-
acterstic but undeniably brilliant overture
70 Wagner's early opera, "Rienzi." AS the
orchestra presented this composition yester-
7 day, there was no attempt to disguise the
bombastlc mood in which parts OF the
! "Rienzi" music were written but on the
other hand, the vitality Of the principal
themes was conveyed with simplicity and
conviction.
In nothing did Mr. Mailer and his forces
show a clearer insight and frmer real
izauon than In the "Lohengrin" prelude,
with its aerial quality OF string tones, for
titled in the middle portion with the virlle
prcclamations OF the wind instruments.
The great climax has been more cunningly
prepared than on this occasion, yet It was
splendidly pussant, and preserved well
the balance os this singularly perfect musi-
cal editiCe The audience reserved it's chief
demonstration for the Tannhauser'' over
tUre. in which the several orchestral chors
distinguished themselves. but which, again,
might have been conducted with a more
elastic scheme Of time and aCcentuatlon
and with more Of the communicating spirit
OF personal sympathy Fine as It was, the
performance OF the "Trauermarsch" from
"Gotterdammerung" suggested more than
once similar brittleness OF style, a lack
Of what in planoforte playing finds its ex-
preston in a loving touch OF the fingers
on the keyboard and in the handling OF
musical phrases with a reverent regard for
their beauty. The bars Immediately pre-
cedrg the appearance OF the Briinnhilde
theme, for instance. wanted the supreme
effectiveness gained by so holding the
chords in the wind instruments that their
Fpolgnancy Is steadily increased, despite
the Gimnuendo slope Of the whole passage.
Mr.. Mailer and the orchestra made deep
impression In the "G0tterdammerung
finale, in which they exhibited due regard
for the singers voice, and let loose their
thuDders with discretion; the conductors s
reading Of This music was Of thrilling
power and beauty.
/ Nine Gadskrs share Of the afternoon 5
doings was more than creditable. Her
singing OF Elsas dream OF her knlghtly
companion brought 10 memory the early
appearances here Of Nine. Gadski, now
I some fifteen years ago as the slight and
| rather pathetic heroine of "Lohengrin.
I There was in her voice yesterday, IN this
music a quality OF girlisn wistfulness and
/ beauty that sccentuated its appeal Brill
iant and a little uneven was her singing OF
Flizabeth's invocation TO the hall OF song
( from "Tannhauser." while in the immola-
/ tion scene from "G0tterdammerung" Nine
/ Cadski rose 10 dramatic heights and carried
] 80 au1iepcg with her