New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1911-11-12
MUSIC
The Boston Orchestra.

A critical discussion of the second con-
cert for this season of the Boston
Symphony Orchestra must be set in
lower key than that called for by the
first This second concert took place in
Carnegie Hall yesterday afternoon. The
solo performer was again Nine. Schumann-
Heink. and she was gladly acclaimed,
though with such show OF discrimination
as made the tudicous observer somewhat
proud of the audience But it is not the
solo performer that gives interest 10 a
symphonic concert, and It will he glad
some day when our orchestras decide to
dispense with them. The Boston institu-
ton could already well afford to do so in
New York. but. unfortunately, this sys-
TEN. pursued in its monthly adventures
into foreign lands has made a popular"
solo performer, whether he or she be
promoter OF good or vicious art. an essen
tial feature. and New York must bear the
burden, whether or not 1t is willing.
On the occasion Of this first visit for the
year IL must be confessed the solo feature
has provided an agreeable surprise. Mme
Schumann- Heink. who sang on Thursday
evening and again yesterday afternoon,
seems to have undergone a change OF
heart since she was last heard here Then
she seemed 10 think much less OF her obi
cations to art and intelligent art lovers
than OF her skill in appealing 10 the
tastes of the multitude; on this visit she
has sung with real nobiity-and needless
Of the vulgar many-perhaps because she
knows that the vulgar many do not make
IN Boston Symphony Orchestra's audi
ence. Her triumphs yesterday were not as
emphatic az those OF Thursday evening,
hut the reasons we're not hard TO find.
She showed as poor judgment in choosing
schuberts "JunGe Nome" as she disclosed
good Judgment in choosing and singing
''Printemps qui Commence from Saint
sasns's Samson ct Dalila." She sang
Schubert's song in a key which gave no
OPPORTUNITIES for the opulence OF her voice
either in volume or quality, whereas The
Saint Saans romance brought forth raw
ishment in both respects. In the second Of
her three Schubert songs, Der Tod und
das Madchen" she was again successful
because of the tonal glory OF its second
mart: but artists much less gifted in voice
have made more than she made out OF
"Erlkonig." In all these familiar songs
the question arose whether their effective
ness had not been impaired by the arrange
ment OF their accompaniment for orchestra
impressive names are hitched 10 these
Observation-Disclosures TO Die Junge
Nonne." Motifs to Der Tod und das
Madchen." Berlioz's 10 "Erlkonig." yet he
must have poorly adjusted taste who does
not feel how much more Of real dramatic
fire and forcefulness there is in Schubert's
pianoforte score than In these strained or
cbestral arrangements which fail as much
in the merely tonal effect they do in
their appeal 10 the imagination of the lis
teners Wofully weak I'm these particulars
IS the transcription Of Die Junge Nome"
(Heresy this. 81 course, in the year Ct
LISTS centenniaD.
The orchestral numbers OF the afternoon
were Beethovens Heroic Symphony"
Debussy's "L'Apres Midi dun Faune"
and LISTS "Preludes." In them all the
marvellous euphony OF the orchestra fell
most ingratiatingly into the ears OF the
audience. though the performances left
longtngs for more poetical readings, for
greater regard for rhetorical pause. Cor
one thing. and less reliance on external
charm. But II is much 10 ask that the
last day Of a weeks tour shall be like the
first. or even third. H. e. K