The Salt Lake tribune. [volume] (Salt Lake City, Utah) 1890-current, 1913-03-30

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: 1. Allegro moderate. B Minor 81
= time: 2. Andante con moto, Major
4 Schubert was, as Hszt so finely said
was; and the main characteristics OF his
music viii always be its vivid person
atty. fullness. and poetry .,ns In ,oS scfS fbe
? most subtle thoughts and feelings. nay
4 even for the events and conditions or NE
ssand innumerable as are the shanes OF
human thought and action so various
!. The above statements were never more
= true than when applied TO the diminished
: In 1872 the Musical society. OF Grats,
= following the example set by the society
: of Linz, elected Schubert an honoIaTg
5 Compliment sgsgI that Schubert undertook the
= work which fate seems to nave ostgL
, mined should remain fragment nut tne
! ioveliest musical fragment IN eHistenreJ s,o,'J
/. movements IN full. and wrote Gown n!ns
Z measures OF the scherSo. The autograph
: shows that the completed PSortSbn PSr,ob.r Was so
!. 1922. There Is no record that sohuoert
= ever heard the music. but every lnoica-
= tion that he did not, clrcutnsIa'ssee s
: us marvellous euphony. Why the COM
2 poser STAYED his hand ls not known; i6es sis-
= tory is silent about the work un',I i1So ,S
= when Johann Herbeck, director OF the
= Vienna Gesellschaft der Mustktreunde
= fwbo deserves to rank close 10 Schumann
: among those who have laoored TOT an
= tnprreciatlon OF Schuberts geniusl, went
: 10 Gratz 10 ask Ansern Huttenorenner,
J! who had been one OF Schuoerts most IN
I, tinste friends. for score OF nus own;
!, which ne wished TO perform at one OF
: the society's concerts, He got an over
+ ture and also the two symphonic move
: Tnents BY Schubert, which Huttenorenner
= next concert OF the society, on Decen1,
z ter II, 1865. the two compositions stood
: upon the programme side by SIDE. Her-
> beck became possessor OF tne bicp SutJs' was 1p,
4 rubIished in 1867 by c. A. spinh IN
: Vienna Within two years OF It's pupE,
Z cation the exquisite torso was a 2resen'eS3 90
!. New York by the Phtlharmonc soc.eS
= on February 6. 1859. under the direction
= OF Carl Bergman.
= The Prelude from "Lohengrin". Wagner
: The prelude to ''Lohensrin" opens with
: the highest octeves. continued with the
{ tenderest pianissinlo through several
= bars. II Is Ike the thin white clouds
roating in serene sky and scarcely DIS
y cern!bie from the ethereal blue surround
= ing them. But suddenly the vtolns
: sound as from the farthest distance anu
: ilve-and at once the clouds take form
II and motion Our inner eve discovers a
y group OF angels descending from the
2 height OF heaven and, carrying In their
= monies doat around them, gradually IN.
= creasinE in warmth and variety. I'll at
= last. With the fortissimo OF the fa,i ,i G Pr
enchanted eyes. After s,oaI this cli1nsx Of
b o sesssy seese ana s ath tser essns
St,on; TsSs conn. rss fstnrn aaSs e gheiT Celestial
: abode. Such was. according 70 Wsg-
8 might almost say pictorial-tdea which
suggested the sublime harmonies OF his
: prelude; and never have the sweetness
been more fully expressed than In this
str,umph OF instrumental music.-Fr.
~ Hueffer.
~ Concerto IN minor. for piano.
ID forte, op. l6..-...........,.....- irleg
This pianoforte concerto was composed
- while GrteE was enjoying vacation. IN
the summer OF 1855. In the Danish WI
lage OF Solerod. Four years later. when
n Fund concert, IN Leipsic, Il was set down
q on the proera mne as new" and in
= manuscript" An interesting, episode in
sfis related in a letter. nrst published IN
"a pamphlet. printed IN 1892. giving an
taccount Of Gr.eg's silver wedding, and
> Henry T: Finck's biography Of the com,
= Liszt, IN the latter part ot 1869 Lc
ietsse H1e.e d" hsS fH tortunatey G just receved
,,sihe manuscript OF my pisnoforte concerto
from Leipsie. and took II WITH me; We BE.
.s,ng. ssambatl.- and a German Lisz,it'
= whose name do not knoH. but whC
Il goes so far in the aping o. his IDOL tha
she even wears the gown OF an able: add
ssto these a Chevalier de Conciliun anC
= some ladies' OF the kind that would Ike
ITO eat List. skln. hair and all-thei
;;sss,dulat!9n is simply eomieail; lo, WIND
frhe would really play my concerto a
9Eight., ]. for my part considered II i'm
= possible: not 20 Li1zt- VIII you playI
2, he asked. and made haste to reply: NO
al cannot (You know have never prac
rilced.) Then I.!szt took the manuscript
s;senbled guests. With his CHARACTERISED
tsrm,le: Very well. then | viii show yo
:, that also cannot With that ne begar
~ admit that ne took the hrst part of Tn
sleeouently sounded heter-skefer. bu
ssisier on. when ] had chance TO udi
.;piay. II is Significant that he PLAYED IN
s:sll."
tsovereure 10 ''Tannhauscr" Wagne
~ This overture. one o, the most populn
ssvorks OF its Kind IN the conc%r; room
f3is constructed on the established iinei
ssand exemplih4s the principles which hay
sslustTauon also In the model overture
nore" It's yI.nes are drawn from Il
s7opera which il was written 10 introduc
t-end they are treated Ia accordance Wit
sfhe rules OF musical form: but !, is. ne'
fferrheless. a complete symplonc poem
tlt depicts the struggles between good ar
s.evll. virtue and vice On the one la.
are tie solemn. religious strains % u
lAPigrims chorus; or the other tie seiul
.stiye chorus of sirens and thc wlld shop
;of Bacchanalian revelry. The relieio,
t,notive appears EGt. but "a gradual
sssubmerged in the rising tide o.. sensu
esounds ~ the end. however. the rel
gious element gains the mastery. ard ii
t-overturs er,ds as lt began. with the p
-Ertms' chorus turned into a hymn
.Irumph. Tie theueE NnicI Wagu
sssirew from his opera for the overture al
EUl The pious canticle OF the rcturnii
slrilgrims, from the tAird act b-ginuil
sy"Begluckt darf nun dich, Heinuath. q
rfschnu'n': GD The melody OF the dan
-of the bacchantes, from the first see
.srhich plays Ia the Cave OF Venus; Ul
uThe call OF the sirens. from the ssT
Necene; HV) Tanuhausers EoDg IN rrai
Of Venus; (V) The alluring song Of {