New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-11-10
A MODERN SYMPHONY
Good Music by a StrauS lml-
tatOr.

DR.. Muck devoted something more than
an hour at the second concert OF the Bos-
ton Orchestra in Carnegie Hall yesterday
afternoon to making propaganda for
composition which he admires, and which
is worthy Of admiration, in a measure, at
least. IL is a symphony in Il major by
German named Hermann Bischof. AT
one of the last concerts which DR.. Muck
gave here before his return to Berlin Ut
was on January 9, 1909, he brought the
same work forward. 1t was not the re-
ceptlon which his audience accorded II
then which persuaded him to repeat il at
almost the earliest opportunity which Of
fered. but zeal In behalf Of the composer.
Such zeal is more easily respected in the
abstract than admired in the concrete.
Herr Bischoff's music is deserving Of
very respectful attention, for II has some
large and imposing attributes; but 1t
would have been more to the liking Of
yesterdays listeners had DR.. Muck post
poned his propagandism until later oc-
casion and permitted his first afternoon
audience the privilege of simpler, sincerer
and more direct enjoyment He was, UNI
fortunately made to feel after the first
movement that the music had not com
PEELED the close attention or won the in
terest 10 which IT is entitled. Had he
waited two months and given the sym
phony on Thursday evening there would
be different result to chronicle.
The indefatigable Mr.. Hale has been
obliged to confess that after more than
four years of effort to learn II he is still
quite in the dark about the personal his
tory OF Herr Bischoff-which invites the
remark that, much as he may resemble
his hero and model, Richard Strauss, as
composer Herr Bischoff differs from
him greatly as n man. In one respect at
least. He keeps his personality hidden,
while Strauss employs indefatigably every
means yet invented for keeping himself
in the public eve. His symphony is much
like some of Strauss's music in It's i'm
petuous and sure-footed sweep. in its re-
lance upon sorority TO make good de-
ficiencies OF fundamental beauty OF
thought, in it's preponderance OF tutti, and
In its alienation of wearisome handi-
craftsmanship with flashes OF wonderful
originality and beauty. The last thing
likely to occur to an ingenious listener is
that It is programme music In any sense
except that which may be made to apply
10 every composition having series Of
movements presenting the contrasts OF
energetic action. contemplation, the pur-
suit OF pleasure and achievement. when
the composer asks us 10 hear or see In II
visions OF the life of n debauchee-disso-
Lutte nights, orgIastic masked balls, moon
light gardens whispers and murmurs and
signs made TO bless. high ideals Of wom-
anhood. lofty strivings made vain by an
ill-spent youth-he compels us TO doubt
his righteousness and rops his music OF
some OF the merit which IL possesses as
self-suficient art We should hesitate TO
describe the symphony as a lofty poetcal
flight but neither can we set II down as
merely a product OF skill in workmanship
and the fruit OF pregnant inventiveness.
IL shows fancy, IL not deep imagination;
and, despite the commonplaceness OF It's
themes and the diffuscness of their treat
ment. the first movement frequently
strikes fire After the sixty-five minutes
Of brain-cudgclling came the romantic
charm-brought out only as the men from
Boston can bring II out-of Wagners
"Segfried Idyl" and the overture TO
"Euryanthe." ". +. X.