New-York tribune., 1914-11-15

No. III as a secondary theme. Instead
of the customary development Of these
themes, the working out" or free fan
tasia section, there is a slow movement
Of pastoral character, with the theme
set forth in No. ". This is followed
by a repetition of the principal and
secoL Diary themes mos. | and ID, and
then there enters the Finale, playful in
spirit, with the subject No. V.
Mr.. Stocks Symphonic Pieces.
Mr.. Friedrich Wilhelm August Stock
Ito give him the benefit of his full
name) has been the conductor of the
Chicago Orchestra since the death of
Theodore Thomas in January, 1905. He
is the son of bandmaster in the Ger
man army and was born in Julich on
November IL, 1872. His advanced
studies in music were conducted at the
conservatory in Cologne, where Engel-
bert Humperdinck and Heinrich Zoell-
ner, both personally known in New
York's musical circles, were among his
teachers. He came to the United States
in 1895 and joined the Chicago Orches-
ira as a viola player, and Mr.. Thomas
made him his assistant in 1899. The
symphony in c minor, of which the
second and third movements are to be
played at this concert in reversed order,
was composed between 1906 and 1909.
The principal themes of the andante
and scherzo are set forth on this page.
Concerning it Mr.. Stocks own words
may be quoted as they were reproduced
in the Programme Book of the Chicago
Orchestra when the symphony was
played at its concerts:
"While the symphony bears no pro-
gramme, and should therefore be re-
garded as absolute music, the composer
agrees with many other modern writer's
that each and every piece of music IS
programme music in some formal
sense. When music depicts human
emotions, or illustrates various phases
of mans emotional life in more or
less subjective manner, its inner sig
nficance is at once coupled with pro-
grammatic idea, because it pictures hu-
man moods and feelings, and must,
therefore, be considered as programme
music of the most legitimate, most
noble type.
Speaking of the present symphony,
il should be said that the work is also
meant to describe, what so often has
been described in works of the same
charcter and form, human life, its sor-
rows as we'll as joys, the struggle or
mortal man against fate, the spiritual
trials to which he is subjected, his
despair at the apparent futility Of
worldly existence, mingled with ever
lasting hope that victory will be his
in the end. The first movement repre-
sents various phases of this struggle;
as it surges to and fro IL depicts mans
mind in a state Of utter restlessness
and determined resistance, a state of
mind which does not recognize hope of
lasting relief or comfort.
"The second part (scherzo) speaks Of
life's joys in more or less humorous
fashion. while the third (andante) de-
pcts "reminiscences of life's happiest
moments. The fourth (tinale) explains
itself when il is made known that it
bears the motto which has become the
motive of life" of the German nation:
"Vorwarts! (Forward!), Aufwarts!
OUpwardl)," >" which motto is, of course,
to be taken in its broadest, most ideal
and universal sense
"The Death of Tintagiles."
A great deal Of Mr.. Loeffier's music
has been heard in New York-songs,
chamber pieces, choral pieces and or
chestral works. His Mort de Tinta-
giles" had its first performance in
Boston in 1898. Since then it has been
published by Schirmer and has been
heard more than once, we believe, in