New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-06-11

There is a beautiful poetical idea at
the bottom of Mr.. Loefler's compost
ton. The music itself is 20 q large ex-
tent too complicated, too full OF elabo-
ration Of detail, too adherent to modern
methods Of harmonization, too de-
pendent on devices of orchestration, too
little concerned with the things which /.
make appeal to the ordinary listener
too little obvious, in short-to be ap
preciated or heartily enjoyed at a first
hearing. II puzzled the layman, but
piqued the curiosity and excited the in
terest Of the experienced connoisseur
greatly-so greatly, indeed, that there
was more than one expression of the
wish that it might be heard again and
still again, so that such full measure
Of enjoyment might be had as can only
come when pleasure waits upon under
Standing. The first hint of the com
posers purpose is given in the title, but
meaning even of this title had to be
learned from the themstic material en-
ployed and the relation which that ma
terial bears 10 things which are remote
from popular life. The mystical hour"
which Mr.. Loefier had in mind is the
csnonical hour of Compline lad COM
pletoril,m). the evening service follow
ing yespers, as it has existed IN the
monarchical life of Europe for cen
turtles. This is indicated by the fact
that the basic material of the work IS
derived from Gregorian chant melodies
which are associated with the Little
Chapter" (Cdpitulum) at Comphne.
These chants are introduced literally
toward the close Of the work, being
sung In unison by mems voices in COM
bination with the symphonic orchestral
part. Added 70 this ancient ecclesiasti-
cal material there is material drawn
from external and natural incident, pre-
seated in part effectively and realis-
tically, in part subjectively and ideally
as moods created by the sights and
sounds incidental TO & monastic service
and its scene.
The composers conception Of the
plan Of his work grew out Of his in
terest in the Gregorian chant. He has
used the melody of "Dies ire" in an
other composition. OF late years, out
Of love for the ancient art, he has
taught it to choristers in Medheld. Two
or three years ago he undertook sort
Of artistic pilgrimage to Benedictine
monastery, built in the eleventh cen
tury, In village of the Rhenlsh
Palatinate. He had walked through the
country, his heart, no doubt, expand
ing 70 the beauty Of the landscape; he
had heard the piping of shepherds and
the Ginning Of the village bells, had
looked upon the cathedral with its gro
tesque gargoyles, and in the mood of
pous contemplation had joined the
vorshippers IN the cathedral in the
evening service. How deeply he was
Impressed by the sights and sounds
may easily be imagined; how his ex-
periences were Transmitted into mu-
steal composition is testified by this
"Hora mystica."
What the composer heard, so far as
The words are concerned, may be read
Ia the Roman breyiary; the melodies
may be found in the Benedictine ser
vice books, which are again become
the musical canon Of the Catholic
Church. Texts and tunes are an illu-
minative programme for the symphony:
Versus: Thou, o Lord, art amongst
U.s. and thy holy name is called upon
us; forsake us not. O Lord, our God.
EesDonsorium: Thanks be to God
T. "luto Thy hands, o Lord, l com
.end my spirit
h. Unto thy hands, O Lord, ] com
mend my spirit Alleluia.
Y. Thou hast redeemed US,
Lord God Of Truth. Alleluial i