New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-10-29


formed in Chicago fifteen years ago the
composer supplied the snnotator ~ me
programme, Nr. william Hubbard
Harris. with notes on which 20 base
his analytical exposition as be had
done in Boston a decade before and 10
his letter gave expression 20 his own
attitude toward the work and that
which he was willing % have the pub
lie adopt. II would have been well mad
his words been printed On last nights
programme; they might have saved
some ain-cudgelling on the part OF
persons in the audience who take Their
music seriously, and who probably
found themselves unable % establish a
connection between the music and
Tennysons poem, on which 70 is osten-
sibly based
Said VI. Mcdowell: at was writ
ten fifteen years ago, and, a. you Will
perceive. 70 was orc Of the results or
tho fascination that sO-cal'od pro
gramme music had over ne az the time.
While my aspirations have taken
higher flight since then, ! viii confess
20 having still prediction for pet
uresque' music-or perhaps M ght
better say suggestive music. II mas
always seemed 20 me az least frankly
(Rnd perhaps nGive.y) sincere. as OPP
posed 20 the vague and somewhat
doubtful depth OF many WORKS OF tne
'absolutists.' To return 10 this youth
ful 'Lancelot OF mine I can only say
that II IL gives the public pleasure, or
brings 20 II in any degree some remem-
brsnce Of Tennyson's beautiful poem, |
shall have succeeded in my aim. The
name Lancelot and Elaine was given
20 the music simply because the latter
was suggested by the poem. In my
most enthusiastic programme music
days ! would never have insisted that
this symphonic poem need mean Lance
lot and Elaine 20 everyone. 10 did 20
me, however, and in the hope that my
artistic enjoyment might be shared by
others ! added the title TO my music.
Speaking for one somewhat expert
enced in listening to music, more or
less familiar with music IN all Us
forms, Il may be said here that the
right to cut loose from Tennysoh,
granted by the composer, was accepted
az a gracious and welcome privilege
last night. Again we felt the truth
contained in Schumann's maxim
that while good music is not hurt
b. a descriptive title. It IL sorry
sign If a composition needs one. Moth
ing that the composer or anybody
else could write on the score OF
this composition would make great
music out Of il, or drive home tho
conviction that il was an eloquent pub
LEGATION OF the moods or the emotions
or depletion OF the incidents related
in Tennyson's poem. There IS chival-
rescue spirit about the principal theme
which u is easy 20 associate with SIR
Lancelot OF the Lake; but so II might
be associated with any other might,
Christian or pagnim, ancient or modern
And there is some gentle music which
might proclaim the fair soul Of AIDA
bella, Elaine, or Juliet or Jesslca, or
any other amorous damsel that ever
died OF love or lived in its joyance.
There are beautiful harmonies too,
beautifully en.wined and euphonious
utterances by the instrumental COM
pany (all these elements character
istically Raflsh), but there is nothing
which enwraps these elements and
blends them into recognizable mu-
steal counterfeit OF the people and the
Incidents which are In Elaine" Not
even with the help Of the programme
notes and the composers hints en-
bodied in the analyses written by
George II. Wilson, Philip Hale who
seemed a bit skepticall and Mr.. HUB
bard and Mr.. Lawrence Gilman, could
the music make US feel the atmosphere
which breathes through the "Idylls OF
the King" like the sweet South, steal
ing and giving odor. Well made
music, grateful 70 the ear, but unap-
pealng 20 the emotions; this Is what
"Lancelot and Elaine" seemed to us.
But il was winning compared with
the utterly inconsequential matter con-
tanned in the Roger variations on the
Mozart theme. They, especially the
concluding fugue, called up story
about an American composer now re-
nowned and once student in the Con-
servatory at Munich. Entering the
classroom one day Professor Rhein-
berger caught the student holding
freshly written exercise 70 the stove.
"Never mind" said Rheinberger, at Is
probably dry enough as it Isl" So this
composition of Rogers is dessicated
learning. The variations have brushed
off all the fresh dew Of the charming
oldtime.
The orchestra sounded to good ad-
vantage last night; better balanced in
tune and more euphonious than in re-
cent years. II has been improved; how
much we shall probably know later.
Mr.. Stransky was heartily greeted by
a large audience.