New-York tribune., 1912-02-05


direct the first New York performances OF
his Symphonic Suite in E fiat maior-a
work which was written some years ago
offered two years ago by the National FED
Grafton OF Musical Clubs.
In view OF the fact that another COM
position by an American musician received
It's first performance in New York yester-
day afternoon at concert of the Philhar-
monlc Society, there would seem 10 be oc-
casion for some words OF comment. This
other composition was a portion Of what
would probably also have been termed a
Suite dnasmuch as-it has FIVE movementO
had It been performed In its entirety. But
the composer, Fritz Stahlberg IA member
of the Philharmonic Orchestral. having
hewn more or less along definite poetical
line, called his pieces symphonic sketches"
However. in this day of loose musical
terminology. II would be a loss OF time to
discuss the structural differences between
the compositions. Mr.. Chadwick. Ike a
sound musician, had symphonic ideas in
his head when he wrote his symphonic
suite: Mr. Stahberg. like a sound mu-
slcian, also had symphonic ideas In his
head when he wrote the Ave pieces which
he called symphonic sketches, and tried
to characterize by the title I'm Hoch-
land" meaning that they were attempts at
musical dellneation Of the moods OF High
land scenes and Incidents not Scottish, but
Bavarian; wherefore the official annotator
Of the programme took pains to explain
that they were based on stories by Ludwig
Ganghofer
Mr.. Stahlberg is an American, imported
two decades or less ago from Germany;
Mr. Chadwick is an American OF New Eng
land ancestry. who got the eliminating
part Of his musical training in Germany.
Mr.. Stahlberg. when last he came into large
notice. appeared as the musical eulogist Of
Abraham Lincoln, his symphonic poem in
memory OF the martyr President having
been performed at an afternoon and even
ing concert OF the Philharmonic Society
two years ago Mr.. Chadwick has hymned
Melpomene and Cleopatra IN instrumental
chorus. So far the honors would seem TO
be about even, and so they may be per-
mitted 10 remain In the case just presented.
for the new works OF the two men are in
no wise antagonlstic. Nevertheless II Is In
teresting TO note national idiom. or
something approaching II. In Mr.. Chad
wick's suite II IS not the first time. Years
ago. when he wrote a string quartet for the
Kneisel organization. We thought there was
a ''nigger in the wocdple" somewhere. In
the composition 20 which some few years
ago he gave the title now employed by Mr..
Stahlberg there was something racy Of the
soil in the jocose movement. So there was
Of n anita
played on Friday and yesterday. But not
only In the movement. which he would have
called a scherzo had he thought the work
10 be of symphonic proportions; 1t was OBJ
seryabie in the more than pretty second
movement-a romance Though there strong
Is tInctured with Scotch heather. and. so
Il seemed to this reviewer. also in the last
movement. which in It's fluent vigor might
be set down as the most successful move
ment Of the four which make up the suite.
What is this Americanism which seems
more palpable in Mr. Chadwicks music
than in that Of any OF his colleagues. even
when it does not manifest Itself In idloms
derived from the black people, who mare
stamped a character upon our popular
music. no matter how vigorously the fact
may be denied? II quite eludes descrtp-
ton II is felt, not comprehended-like the
charm which Walther Won Stockings song
exerted upon the mind OF Hans Sachs In
Wagner's comic opera. Mr.. Chadwick does
not seem TO seek II. but, on the contrary,
seems almost purposely 10 use means TO
avoid it. The popular musical idiom OF
America surely does not ask such studied
ingenuity in Instrumental invention as Mr..
Chadwick employs in this new suite-es-
pecially in the third movement, which he
calls an Intermezzo and Humoresque, but
which is chiefly the latter Yet Mr. Chad |
wicks music Is certainly American.
And Mr.. Stahlbergs is not This is not
said 10 its discredit. but on the contrary. |
in its praise: for Mr.. Stahlberg's music |
Is in every respect beautiful and would |
he so recognized the world over. The |
pieces played yesterday were a bit OF Sc |
rene contemplation and a bristling little |
march in the same key, but far apart In
every respect except their consistent |
Ioqical finished workmanship, their ingen- |
nous righteousness and their most
orchestral euphony. They /
are really gems Of Instrumentation. fun |
Of new tonal tints, not one or which be-
trays striving after novelty The public
ousht to know more Of Mr. Stahlberg and
his music. Mr. Stransky yielded the
baton to him in his work. as Mr.. Dam
roscb Welded Il to Mr.. Chadwick
The middle numbers OF the symphony |
Friday scheme naturally at
tracted a larger popular attention than
did that Of Yesterday. Mr.. Victor Harris
conducted the st. Cecilia Club in the per-
formance of five numbers, three with or
chestral accompaniments (Which proved /
to be more less of a hindranceJ and two 1
a capeIId The first group consisted OF
an Ave Maria" by Brahms COP. 12), a
"Rosenlied" by Theville tboth very
and a setting OF "He Spotted
Snakes" from Shakespeare's "Midsumme'
Nights Dream" by Hugo Wolg. which
despite its charms (especially It's orches-
traI lngenuties). Is not likely ever TO
dIspIace the much more ingratiating COM
positions OF Mendelssohn. The second
group comprised the thrice remarkable
"Laudi ALA Virgine Maria from the last
canto Of Da0te's Paradise composed
by Verdi and given TO the world In 1898.
less than three years before he died). and
Summer Wind'--a delight
fuI composition. which was delightfully."-
sung with quite indescribable airiness
and grace. However the clubs most
performance by far-and a
very meritorious one IT was-was the
singing OF the hymn by Verdi which the
Musical Art Society introduced to New
York on December 10. 1906 The compo-
sition is terribly difficult one. and the