New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-01-31
A CONCERTO FOR HORN
Solos in Philharmonic Con-
CertS in the LONG Ago.

Certs in the Long Ago.
In the tenth evening subscription con
/ cert OF the Philharmonic Society last
night "a very delightful affair, which will
he repeated this afternoon In Carnegie
Haln Mr.. Navier Reiter played a concerto
for French horn by Mozart There were
| other features. of course. all Of them
pleasant to the ear but none quite so un-
I aualifiedly charming. for number OF rea-
sons. as this concerto. which not only
/ filed the hearers with ingenious delight
but. no doubt. served a good educational
! purpose In permitting the audience to
/ learn what one Of the most lOvahr
| and useful instruments in the orchestra
is and the nature OF the music which is
native TO II. Mozart wrote -four concertOs
for the horn ana a rondo between l712 and
! 1916. all for an old friend OF MS fathers
who was a horn player in Saizburg when
J the composer was a boy. and whose ac-
. qusintance nc renewed when he found
| him a cheese monger, but still virtuoso
, on his instrument. when he went to
! Vienna after being literally kicked out OF
doors by the prince archhishop's cham
berlain This horn player was named
Joseph Leutgeb. who, from all accounts.
with all his musical skin, was 50 much
of good natured ignoramus in all other
things that Mozart, even while composing
solos for him could not help filing his
] scores with gosees. all numerous ana
some in such questionable taste that they
cannot be quoted here.
!. II may serve a purpose illustrating
with what ease he wrote these horn con-
certos (Which. however are still models
OF what horn music should be- 10 quote
. some Of the marginal notes with which
| he embellshed one OF the conCertoS.
| Scattered through the concerto in Italian
they read thus when put into !rce and
coIioaual English and contemporary
slang. TO YOU. signor Ass-With ANNA
tion.-Ouick'-Ge move on you
Bravo'-Get along '-Courage.-iIave You
finished already ?-Beast.-Bravo. poor
little felow.-It is 10 laush .-heIp'-bet
Ms breathe a lttle.-Fofwerd forward
This goes better.-What. not ended yet =
Oh. infamous pls.-Ah, how gracefnl'-
Dear little aSs,-Ha! ha, ha.-NoW !
breathe again.-Play II in tune, AT least 80
Bravo '-Ervira,-You have come to an
nov me for the fourth time. thank God
for the last.-I leg OF you.-Oh. mala-
| detto.-And A oravura, too.-Ah' the ril
! of q sinner-F inished?-Thank heaven,
enough. enough.
The reference 10 the fourth time, per
haps also the tril, would seem to indi'
cate that these CLOSES were written IN the
| score Of the concerto in + nat which MT
Reiter PLAYED last night, which in its final
| rondo echoes the old hunting music
which the French, encouraged by their
chase-loving kings. developed 10 such
degree as TO win for il place in the Or
| cbestra wherefore. no doubt, 1t came 10
he known as the French horn In England
though still beautifully called the forest
horn" 1Waldhorn) in Germany Mt
Reiter did not play the old natural
horn OF Nozarts day, but valve horn.
| for which reason there was some loss OF
Characteristic horn tone unfamiliar TO
most modern ears), but gam IN cledf-
rsss Of execution. lie is fine artist, as
all know who have listened TO him TOT
wears in the Metropolitan opera House
! Mr.. Seidl's orchestra and the fhiIhat-
monte society. In whose Dand ne hd'
! played since the advent OF MI Manner
and his playing gave great pleasure last
night The other numbers on the pro-
| c,smne were Gluck's overture to M
ccste" (Which is not good concert plece
with its solemn beauty, TschaikowsK!
! "Eomeo and juliet ana GoldmarhS nus
| Tie Wedding" symphony.
( Is the Philharmonic Society as II pro-
! ce.ds into the third generation Of itS
( existence returning TO some OF the p'lh-
c,nIes Of programme making which char
scterized the first forty years OF its MS
,orv9 The recent inclusion of all overt
IRE by Rossini in one OF lts scheH1es'
! taken in connection with last nsht per
! fornance would seem 10 point that way
From it's foundation in 1872 up TO the
4 erd Of carl Bergmann's artistic direction
! OF the society in February. 1876. not ohll
I ,yero thu solo features Of very Naileu
character. but il was the manifest policy
/ of the societys directors TO afford us
I.memlers an opportunity TO be heard "a
solo performers Among the players III
the earlier years there were a number
Of excellent artists, like y. Z. Hill ana
! Noll. violin: Alexander Boucher VIOLIN
! colo. l.. Eltz bassoOn: y. kefer
cIarinetist. and Henry Schmitz, horn.
These men and their associates intro
duced some good chamber music into the
programmes at the very beginning OF the
society's career. but the taste exhibited
in the choice OF Hummels quintet in y
minor for pianolorte and strings in the
erst season and Beet loNen's septet IN
the second. was not always maintained
!, was not long before Louis Schneider
was PLAYING pieces of his own compost
ton OH the cornet-a piston. Tn" DiStlns
father and sons were edifyins the public
with "A transcription from Lucia al Lam
mermoor." for four sax horns: Mrs Bosi-
! wick was singing The Happy Birding,
| with flute obligato duet for two comets
| found q place on the programme. and j.
A. KYLE and W. r Groenevelt played