New-York tribune., 1912-02-10
MUSICAL COMMENT
"L0BETANZ" AT THE OPERA
A New Pianoforte Concerto ct
the Philharmonic.

tdlS. II IL therefore always a pleasure
when curiosity is irritated, or attention
piqued. bv novelty in the programmes
or particular excellence in the perform
ances. Both things happened to the audit
ences in attendance on the concerts
of Thursday evening and Yesterday
afternoon. The solo feature Of the CON
certs was music composed and performed
by musicians from ;he Antipodes. Mr..
Ernest Hutcheson, whom we have known
for decade as pianist whose ministra-
tons have gone out from the Peabody Con-
servatory at Baltimore (he used to play
duets with Mr.. Randolph. played the solo
part Of a parofortc concerto in u minor
composed by George Frederick Boyle. VIII
conducted the orchestra on both occasions
Mr.. Boyle is also resident Of Baltimore
just now, but he and Mr. Hutcheson are
English Australians-or Australian Eng.
lishmcn-Mr. Boyle hailinG from sydney
Mr.. lutCheson from Melbourne Consider
ing their blood and musical training. the
fact that they came from the other
side Of the earth IS inconsequentiaI.
Mr.. ROylc's composition smacks of Eu-
rope dt is little more Gcrmanic-
Gallo than AnGliCam. and so does
MIR. liutchcson's playing. There is n ster-
ling quality in It. II is virilc in idea.
strong. neutrality-suspicious. not Thoroughly
we'll alanCed as between the solo instru-
ment and its associates. lie does not quite
carry out the idea which lies at the basis
Of the concerto fOrm-i. O. of "A controversy
between the two agenCies-for the orchestra
begins tlmidly and the pianoforto with al
most impertinent assurance. and though
the orchestra plucks up courage later it
is plain throughout that the composer was
thinking always more of the solo instru-
ment than Of its companions But there
are few concertos in which this is not the
case, and Mr.. Boyle never permits his or
chestra 10 sink TO the level OF a mere ac-
companist. If there is a fault in his concer-
TO in this respect ii lies in the fact that the
composer seemed 10 have less command OF
the orchestral than of the pdnoforte lam
guage. And so the public seemed disposed
to pay greater tribute TO the solo perform
er than TO the composer of the music,
which. without disrespect to Mr. Hutche-
son (who deserved well at the hands OF
the audience, was a pity-creation is a
loftier process than Interpretation. even
when the latter achieves its highest estate
and becomes recreation. one thing can
be said OF the Conccrto-it did not lower the
dignity OF a Philharmonic Societys pro-
gramme. as some other compositions per.
formed this year have done
The symphonic fragment from Cesar
Franck's LA Redemption" also played Cas
with the overture to "Rosamundc" and
fourth symphony, was a
quasi-nOvclty. though we believe it has
been heard here since Mr.. Walter Dam
rosch brought it out in New York for the
first time some six years ago. 70 share the
enthusiasm OF the disciples Of Cesar
Franck touching this and much else Of his
music, one must become imbucd with the
religious mysticism which seems 10 como
to the French. but with grca;
difficulty TO the people of rcmoter Teutonic
origin. The composition has moments OF
lofty beauty especially in its contrasts Of
moods; but unless one can put aside his
aesthetic judgment in favor Of pous scnt-
IT is somewhat difficult 10 find
dignity. beauty and propriety In the from
bone theme. which. We fancy. was intendc
by Franck to be a symbol OF Christian
faith.
~ the opera last night Thullcs opera.
d
mirable music. it's beautiful stage pictures
and its excellent performance II cannot be
said that the opera brings that conviction
to the mind Of the listener which is essen
tial TO it's recognition az a really great
work NJ art It is too homogeneous too
full Of evidences that the librottist and |
were novices in their art. Every I
scene has n prototype, and every prototype |
Is masterpiece in its place. But what !
have these prototypes To do with the drama |
"Lobetanz"? II is built on them-crudoly |
built on them. Of course-th that is only too |
Obvious. Careless minded persons have /
said that tho whole thing is comic opcra |
and that tho lkcnesses do not matter But |
il an artist reproduces n familiar thing |
whether musical. dramatic or pictoriaD |
so obviously that II cannot fail Of notice |
he docs II either for the purpose Of parody |
or as n confession that he needs il and can !
not invent anything in its place. The |
liDrettist Of "Lobetanz" though great |
poet, was a novice as "A dramatist. There |
were operate scenes which all the world |
knew, and which he recognized as effective |
the scene stwecn Parsifal and the Flower |
Maidens; the scenes in Die Mestersinger"
and "Tannhauser,' at the song contests the |
love scene in Tristan und Isolde" the for |
est scene in "Siegfricd"; the last scene in |
"Tannhauser." These he welded together in !
most incOngruous fashion 10 tell a story |
which has real poetic beauty. and which |
has haunted the human imagination in its |
essentials for ages-in fact. ever since the |
Orphic myth came into existence But be-
cause he did not know how to invent. or |
construct. ne brought them into company |
rudely, inconsistently and |
robbed an excellent musician OF an oppor- |
tunity to create lyric drama which has |
enough good music in IT to stamp II as a |
The careless attitude Of some critics that
'Tobetanz" is merely comic opcra will
never save it. II was conceived I'm a serious
So small IS the knowledge Of it's real
nature that even it's title has been misin- |
tcrpreted. "Lobetanz'' is not Merry |
Dance" but the name of = dance Of con- |
sidera bic antiquity II is what I'm the six
tcenth century in Germany was called a !
''Verlobungstanz" "a betrothal dance 90
which In at least one section Of Germany
was practIsed for the purpose Of bringing /
Young people into company I'm the hope |
that marriage engagements might ensue |
Like the dances which are now occupying |
q large part Of the public attention. they |
finally called for the attention Of the legal
officials. But some OF the old German folk /
songs tell Of "LobetanZe" I'm which the !
angels participated in heaven.
bort in dem Himmel
Das list Elm I.obetanz.
bort tanZen allie Engel
I'm einen RQsenkranz.
Even the Virgin Mary is pictured "a
taking part in this ancient dance. The