New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-11-25
Julius Caesar" and "Rich-
ard III" Overtures at
Philharmonic
SPIRIT OF TRAGEDY
IS ILLUMINATED
Willem WilIeke Is SOlOiSt
at the Afternoons
Concert
By II. T. KREHBIEL

IL there were any veteran patrons OF
symphony concerts in Carnegie Hall
yesterday afternoon, such as there used
to be generation ago, when seats at
the concerts Of the Philharmonic So
oiety were legacy 20 be handed down
from parents TO children, they must
nave been surprised to find one number
on the programme Of the concert Of
the Philharmonic Society which even
/ they could not recall even by name,
/ though 1t was the composition Of no
less a master than Schumann.
Out OF the dust-laden archives Of the
long ago Mr. Stransky had resurrected
the overture to Julius Cesar" A
fairly retentive memory of the doings
OF the society for the last thirty-fve
years, quickened by laborious investi-
cations into its history from the time
OF its organization seventy-fve years
ago had failed to call up recollections
of the work, and it was only by con-
sulting the records that the fact could
be learned that Carl Bergman had
given performance of the work on
December 2, 1871. Whether or not il
1 had been performed since by any or
chestra in New York up to yesterday,
We have not had time to learn.
Conductor and Educator
Bergman was a great conductor and
also great educator. He did more TO
, establish the traditions Of the Philhar-
monte Society in respect OF eclecticism
Of taste and nobility of taste than even
Theodore Thomas; and it was pleasant
lately to read proper estimation Of
his merits and a defence of his merits
/ ,-Ya Cd Eak
aspersions OF Mr.. Thomas, published
lately by A. W. Lilienthal, long mem
Der of the orchestra.
But between 1868, when one of
Schumann's symphonies was played for
the first time, and 1871, when the
overture to Julius Cesar" had its
first (and probably only perform
ance, the progressive spirit of the So
ciety was more given TO making propa-
ganda for Wagner and List than to
their predecessors of the romantic
school. However, it is likely that the
| overture seemed as much possessed o.
a merely historical intent to it's dis
eliminating hearers forty-fve years
ago as 1t did yesterday. When Schu
mann wrote IL he was full of a desire
10 write music for Shakespeare's
dramas; but between his aims and his
achievements there was frequently
wide gap; and seldom a wider ono
than was illustrated by yesterdays
revival.
The music was excellently played,
even if not dramatically read, and
there was some pleasure in listening 20
the euphony and buoyancy of some Of
It's measures; but Of poetical or tragi-
cal depth Of feeling there was not
sign.
Richard III Overture" Given
Associated with this overture, sepa-
rated only by Mendelssohn's italian
Symphony" (into the performance OF
which much more variety of nuance
and rhythmical verve might have been
injected), was another piece Of music
designed TO illuminate the spirit of
Shakespearean tragedy. This was an
overture to Richard III. part Of some
incidental music which Nolkmann wrote
for the play Though not familiar, ex
Cept to music lovers with retentive
memories, it has been played here suf-
fciently often to have maintained a
place in what may be called the cur
rent repertory. Its spirit is very diff
ferent from that of Schumanns over
ture-less interpretive, more frankly
and externally delinestive. Volkmann
tries 70 describe not the soul of Shake
speare's Richard, but the phantoms
which Cypress his imagination and the
combat in which he goes down to de-
feat.
And in picturing the battle on Bos-
worth Field he makes an essay in local
color and uses the melody of "The
Campbells Are Comm" as an English
war song, which is so gross an ana
chronism that il need not even be dis
cussed. As well send General Scott
into Mexico City TO the tune Of Dixie"
Mr.. William Willeke contributed an
interesting feature to the concert by
playing Klughardt's violoncello con-
certo in A minor It's slow movement
was the most expressive and loveliest
bit Of cantabile which the afternoon
offered, and if any fault was TO be found
at all with the performance it WAS that
Mr.. Willekes instrument seemed lack
ing in fulness and sorority of tone.
But the composer seemed more desir-
Gus to make good music than a show
piece for the solo instrument and over
burdened the orchestral part.