New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-11-09
DAMROSCH HOOD
TO MELLOW BRASSES
Conductor Tries a Novel
Scheme to Better Sound
at Symphony Concert.
By II. 4. kREHBIEL.

walter Damrosch gave hearing to
new composition by an English COM
poser, introduced young American
violinist 10 the New York public, re-
peated some music previously heard
here and made sn experiment looking
TO the betterment OF the sound OF the
orchestra at the third Sunday after
noon concert OF the Symphony Society
yesterday. All this he did in the pres
ence Of the largest audience which had
gathered in the concert room this sea-
son; as large an audience, indeed, as
the room would hold.
Something might be said about each
incident, though the one most deserv-
ing OF commendatory comment was the
one with the least element of novelty;
namely, the performance Of Schumann's
"Rhenish" symphony. II was, prob
ably. TO preserve II proper balance be-
tween the brass choir, which has so
pompous and beautiful proclamation
70 make in this work. and the other in
struments OF the band that Mr.. Dam
rosch had canvas hood which pro-
jected a few feet beyond the bottom
Of the organ, placed over his brazen
cohorts.
How effective the device may have
been cannot be said with positiveness,
for the music of Schumann, unlike
that Of some compo.rs Of to-day, does
not tempt trumpeters, trombonists and
hornsts to blow blood out of their
eyes, and Mr.. Damrosch was in kind
mood.
Apropos OF one of the novel features
Of the concert, a severely critical per-
son might be tempted 10 say that the
conductors amiability was bestowed on
the newly come violinist rather than
on his audience. Mr. Frank Gittelson
s young, and some things are pardon
able in young artists. They are fire.
quently unripe and we are told. that
they can only ripen in the sunshine
OF publicity. Now, an unripe artist OF
twenty years is more tolerable than an
overripe one OF ten; the pity is that
when there are so many eager 70 be
heard who are neither unripe or over.
ripe the curiosity of the public shoul
be appealed 10, and IN case of disap-
poirtmpnt It's indulgence asked.
Mr.. Gittelson is TO BE- commended for
a laudable intention, for the OF ious
seriousness of his aims. for his un-
affected bearing. But. judged by the
standards which ought to prevail IA
concerts like those OF the symphony
Society. IL must be said that the Bach
concerto in L, which he played yeeter-
day. Is not for him 1t - ~"' @ how
piece, and no one ever attempts 70
make il appear to be one.
IL Is. however, a composition calling
for broad ard dieniiied style. must
cal taste beautiful and, II possible.
large tore, and, above all, poise and
rhythrical sense. None Of these quail
itics we're notably present IN Nr. Git
telson's playing; his violin frequently
"piped and %histled" In is sound, snd
IN the lest movement the entire per-
Torrance was oil it5 feet. Moments Of
fair promise at the beginning OF the
slow movement never came TO fruition.
The English novelty was Granville
Bantock's overture 10 fantastic play
called "The Pierrot of Minute the
title finding an eXplanat on in the cir
Cumstance that the hero Of French pam
tomime has an amorous adventure with
the Moon Maiden. only 10 hnd that IL
has been the dream Of minute. a
rretty poetic co0ceit which provided
the composer with opportunities for
music of a whimsical character which
were deity employed. The concert
came TO d close with Sir bd'"ort
Elgar's "Cockaigne" overture, which
Mr. Gericke introduced here thirteen
Years ago. Ii is capital piece, pro
erammatic. but fresh and spontaneous
in its themes, ingenious in treatment,
spirited in movement, unconstrained IN
rtterance, vivid in color frank in the
publication of the .go-lucky.
son.what vul"ar bu' essentially manly
sririt OF London Town, and deserves
20 be heard much oftener than it has
heen,