New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-10-23
Symphony Society Gives
It's First Concert in
AeOlian Hall.
MISCHA ELMAN
BACK IN THE FIELD
Goldmark's Concerto and Some
New Ballet Music by
Ravel.
By II. +. KREHBIEL.

concerts with which New York is TO be
blessed in the course OF the present
season were begun oy the Symphony
Society in Aeolian Hall yesterday al
ternoon. A symphony, Beethoven $
fifth, which century has neither stalled
nor withered, was played Mischa El-
man came back to al admirlng pubic
after absenting himself for g season,
and some new music by Maurice Rayel
was brought 10 the attention OF kind
ly disposed and always appreciative
audience. The audience was as large \
one as the concert room could con-
veniently hold; and SO, to all outward
appearances al least, the opening OF the
orchestral season was an ausplclous
one. The occasion was an interesting
one, too, in that each OF its three met
dents invited to serious thought. The
first question which presented itself
was whether or not the quality of the
bands playing had undergone change
since last year. That could be deter
mined by the performance Of the sym
phony. Evidently 1t has not, either for
the better or the worse. IL is con-
stitutionslly a fine organization, and
whenever defects are forced upon the
attention of critical listeners it is as
a rule because Mr.. Walter Damrosch,
the conductor, has failed to appreciate
the obligations placed on him by the
abnormal relation which exists be-
tween his forces and the acoustic con-
dtion OF the hall or has been indif-
ferent 10 the demands OF eupnony.
Rude assaults were made upon the ears
of yesterdays audience and most OF
them were attributable TO the fact
that Mr.. Damrosch neglected TO estao-
lish the harmonious relationship which
ought TO exist between the spirit OF
Beethoven's music, the ndturet or
Beethoven's orchestra and the physical
conditions with which he was sur
rounded. As for the strivings after new
effects of Interpretation by The broad
ening I'VE feel inclined to say chicken
ing) Of some sequential passages In
the finale OF the symphony, they must
be left as a question between Mr.. Dam
rosch and his artistic conscience. Jhey
added nothing to the vitality OF the
work and surely disturbed its sturdy
and heroic movement.
Mr.. Elman played Goldmsrk's con-
certo in A minor. a work which prom
ises to come into musical notice this
season and which will probably win the
admiration which il deserves, but OF
which circumstances have deprived 1t
hitherto 1t is not new, yet IL Is Infa-
miliar TO the American public. Mr.
Kneisel introduced it in Boston as long
ago as 1890, but iidnot play it hero NJ
! Cesar Thompson set it down for per
Torrance at a Philharmonic concert In
January, 1895. but suffered an injury
: to his arm which compelled change OF
programme and solo performer. A
week later he had sufficiently recov'
cred to play it at concert Of the Ameri'
can symphony Orchestra, under the
direction of Mr.. Sam Franko. in Chick
cring Hall. and that was its introduc-
/ ton in New York. In 1902 Miss Olive
/ Mead. pupil of Mr.. Kneisel. played
] il here at a concert Of the Boston Or
chestra. and thereafter we heard moth
/ ing of II till Mr.. Francis Macmillen
brought it forward at a Philharmonic
J concert at the end of 1910. AS Miss
/ Mead's interest in it had been awak-
ened by her teacher. Mr.. Kneisel, SC
/ Mr.. Macmillen's, no doubt, had been
aroused by his teacher. NJ. Thomson
/ OF other violinists who have played
/ the concerto in America we can only
recall Jacques Hoffman,.
! Amends are now TO be made for the
neglect from which worthy work has
suffered Mr.. Elman will no doubt
carry it through the country; Mr
Macmillen has kept it in his roper
tory and will play it again at his re-
cital here next Monday. Other violin
! lists are at work upon it. II is a COM
! position which can give much pleas
| ure, but it makes large demands upon
| the taste and still larger upon the
technical ability of the player. Gold
mark had a practical knowledge OF the
violin Che was q pupil OF Bohm In
Vienna, and played In public as
youth, and he wrote out of fitness
/ Of knowledge of what a concerto, In
/ the old sense, at least. ought to be
/ II is show piece for the solo instru-
ment, but despite the subordlnatlon OF
! the orchestra the bands part Is fas-
4 cinating for its color and negotiating
from beginning TO end. The melodies
are full Of charm and those OF the
slow movement breadth and dig
{ nifty to which Mr.. Elman did not dc
/ full justice yesterday. The move
ment would have appeared in regions
more native 20 il had II been played
with the lofty, sersphic serenity which
! Mr.. Ysaye was won't 20 disclose 70 US
I when at his best in the classics. Mi
Elman's superb technical skill dis
closed itself corruscating and scinul-
liant In the polacca-like last movement
/ but his artistic stature would have
doomed larger had ne not sentimental
! lied and maundered and whimpered SC
much in the Andante. He should learn
ITO losthe the taste OF sweetness
whereof little
More than little Is by much toe
much"
] The concerto was half novelty; the
last number on the programme was
wholly one. II was fragment from
{ the music written by Ravel for the
Russian ballet, "Daphnis and Chloe
Before me merits of this music could
, b, intelligently discussed some very
large and difficult questions in esthet
les would have 20 be disposed Of, In
Guiding that raised by the wind ma
chine as employed by Richard Straus:
in his "Don Quixote." Il isn't wortF
while. Let it be granted that con
ouctors are performing a duty towsrC
the art and the public by performing
music on the concert stage whlch wa
written 70 accompany stage pictures
4 and action and derives nearly all o.
. its sppositeness and beauty from th'
material association because II is new
and let those who can enjoy a mixture
OF realistic noises with an art WHOSE
realm is the ideal, enjoy it. Mind.
/ inclined in other directions will hay'
10 content themselves in the presence
i Of music like this Of Rayel with mar
/ Yelling at the ingenuity which can ex
tract such strange combinations o.
/ sounds, and such fascinating withal
/ out Of instruments whose native voices
were pu, 10 loftier purposes by greater