The sun., 1915-11-15
SCHOENBERG'S ART
TROUBLES HEARERS
Friends Of Music Give His
Chamber Symphony First
Performance.
STOKOWSKI CONDUCTS

The first concert OF the Society OF
season took place yesterday afternoon
at the Ri,z-Carlton Hotel The pro-
sramme consisted OF Arnold Schoen-
berg's Chamber symphony" the over
ture TO Jean Jacques Rousseaus lie
Devin du Village and three ballet move
ments from Gretry's "Cephale ct Pro-
cris." The music was performed by
a small instrumental body chosen from
the Philadelphia Orchestra and con-
Quoted by Leopold StokowslS The
Schoenberg composition was heard for
the first time here. and It will un-
doubtedly be a topic for discussion
among the numerous musicians who
were present
This "Kammersymphonic" is the
Vlennese COMPOSERS opus and dates
from 1905. 1t has all the characters
tics OF it's writer's singular style. which
is founded on the basic principle that
combinations OF tones are expressions of
emotions and are amenable to no law
outside the musicians own soul. 1t
| Is an art principle not without founda-
tion in universal law. nor does II dem
onstrate itself in wholly wayward utter
ance and formless structure.
James Huneker Is incontestably right
when he says that Schoenberg is rig
| orously logical. provided You grant his
premises. This point was made In THE
| SUN after the production of the d minor
quartet. But We may go further than
Mr.. Huneker and assert that Schoen-
berg's form Is clear and firm: that he
| employs precisely the same type of
| contrasts between themes as tho classic
masters and that his departure from,
| their position Is TO be sought In his
harmonic groundwork. In the kind OF
themes built upon his conception OF
| melodic scales and in his extraordinary
| and often contemporaries counterpart
| The chamber symphony is in ons
| movement. but the first leading theme
is v!vacious. strongly rhythmica and
suited perfectly to development. The
second chief theme furnishes the can
| table material for the whole work and
| spontaneously develops itself in n mid
die pa. sage of great beauty. The COM
position Is prolix It abounds In
strangely contrived instrumental ef-
| fects, which are all top and bottom
and no middle voicing. II Ia rich In
| ear trying shrlekS ana IN simultaneous
| sounding OF utterly unrelated tones
whose hostility is accumulated by the
| orchestration.
1t is n composition which vexes the
| spirit OF the older music lover. even
while he does homage to the skill and
| concentration with which its acrid ma
terials are employed. II was honored
with close attention yesterday. but II
| is not likely that 1t was enjoyed. A
! N.ennese admirer OF the composer has
said: The entire man In YOU must
| he made over before YOU can divine
| Schoenberg's art" This Is probably a
great truth. At any rate it shall moi
| be disputed here.
After this futurist music the over.
| ture Of the French philosopher sounded
as neat and lucent as an expository ar
| tice from his cyclopedia. II was charm
/ ing. though in gracious spirit and daintl-
ness of musical diCtion. II was eXcelled 10y
| the delightful music OF Gretry. The
whole programme was notable. wei
{ played by the men from Philadelphia
and moS artistically directed by Mr.
| Stokowski. who's. feat in memoriz!ne
the Schoe nberg score might have mad'
Toscanni green with envy.