The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-04-10
MAHLER'S EIGHTH
SYMPHONY HEARD
Soricty of Friends Of Music
Gives Concert at the
Metropolitan.
SENT BY PHILADELPHIA

when mas performed n Naludpie function
IN the artistic musical life Of his metrop. |
oils nv bringing to the notice Of a circle
81 trained listeners compositions not to
b. head at public entertainments.
emerged from its privacy to give an am-
bilious concert last evening in tho Met
rofoli,an opera House. The novelty
chosen was Gustave Mahier's eighth SYM
lhouy, which recently had Its first hear
iues In this country In Philadelphia.
When the huge symphonic and choral
creation OF MIR. MAILER was produced in
Philadelphia 1t was praised with emo
ton and thanksgiving. the Interpretation
was considered with reverence and rap
iurc and the concert had to be-Or at
any rate w~ss-repeated several times.
Upon the heels OF this excitineut the
whole show anne to New York.
The entire cast. chorus. orchestra and
conductor were brought across New Jer-
soy. The cast was as follows. Una
Pocutentium. Florence Hinkle: Mater
Gioriosd. Adelaide Fischer: Magma Pee
cdtrir. Incz Barbour Muller Sumdrftdnd.
Margaret Reyes: Maria A0yptidnd.
susanna Dercum: Doctor Mdrtdnus.
Lambert Murphy; Pdter EcstGttcus,
Reinald w%errenrath: Pdtcr Profundus,
Clarence Whitehill. The PhiladelphiS
Orchestra, numbering for this occasion
ITO players the Philadelphia Orchestra
upThr ~ 1ulluTeuS ,uoIuS, to ihh
sdelphia Choral Society, the Mendelssohn
Club and the Fortnightly Gu consti-
tuted the choral forces. The presiding
genius of all was Leopold S~tokowski. the
gifted and accomplished young conduc-
tor OF the Philadelphia Orchestra.
Not n DOx once = symphony.
Mshler's eishth symphony quite prop
eriy belongs to the class OF compositions
sought by the Society of the Friends OF
Music. II does not count the attention of
musical directors who must consider the
wishes OF the general public or the de-
mands of the box office. New Workers
may re;ret that a local orchestra and
local choruses were not chosen for the
presentation Of the work but only by
~Nrepariug for more than one perform
auce could the projectors OF this pro-
duciion have hoped TO complete their un-
d.rtakiuS without losses too heavy to
confront. Mailer was not troubling him
teli with practical considerations when
ne wrote the composition. lie had a
purpose which he carried out In the Sc
clusion OF his study. And II Hector Ber-
iioz might write a requiem mass III only
for festival occasions why not MAILER
al eighth symphony?
Although this is a choral score. II
clearly Justifes the title symphony
Its structure is symphonic and its gen.
khNh tA'h Nt'h - itSktfou "a
themNic treatment familiar TO orchestral
creations. Themes heard IN the first
part are repeated or modified and de-
veloCed in the second. Sometimes they
ere transferred from voice to orchestra
and sometimes vice versa. n COM
poser's object was plainly to preserve
the Individuality and significance Of his
parent themes throughout the work and
20 let the nearer understand that his ar
t!stic plan embraced their presentation
by both voices and instruments. Tit
germ OF the whole work 10 found In the
first theme of the first movement. But
there is much subsidiary matter.
There are two parts. The first Is de-
voted TO a setting Of the old hymn.
wen, Creator %Spiritus,' and the second
g. the final scene of Goethe's Faust"
, H. the words OF these we may find re.
lutious which suggested to Mailer the
j~uXtaposition OF the two. The composer
was not solicitous about the purity OF
the text OF the hymn. His version Is
not The Oldest. but contains many OF the
additions and alterations familiar TO
students OF hymnology. The Fundamental
thought. however. is not disturbed. The
"N.uI creator Spir.tus" is an invoca-
ton and an ascr!pt!on, one OF the loft
les Uttcrtuces OF the Christians cease
To- application for the divine guidance
O. 'h, Holy spirit and of his alteration
g.. tNo tr.unc God.
., -
'""" '""'"'"" inc N"s"e'
'.. Iis' scene of Faust contains the
go" The sublime vision of the great
a. n.., poet opens the very gates OF
icly,, and brings All suffering aud sin
s4d .o.ioW 10 the foot of the throne of
eternal mercy. The mourning renitent
conc, hrYNu as ';retchen), the immortal
,aH OF Faust. the Mary OF Egypt, the
Samaritan woman and the Magdalen
breath, praises AMI Thanksgiving. while
~ Virgin and the mystic Patres whisper
things that may not be understood OF
NO But the shirt of the scene Ia one
~ 4, .cstal ecstasy. OF unutierable bliss
ir mo prrs.re. OF divine forgiveness.
n n8s been made formidably dificult
{ W.'e di~spassionately about Gustave
Nth'c. Remote, inaccessible, self
cor'rcl and i~uexhaustibie in his search
a''rr IDEAS. Mahler's personality and
c.,t''. methods drew to his banner a
small army of ~frcnetic adherents who
eruro hs namo In whispers. worshipped
m As % Mahdi and were ready 10 fol
l0A lam into HIS realm OF unrcaiized
'.0fs with sublime faith. All who were
unable 10 follow We're and stili are as
> ed wI'l fcrcest vitpperation. their
v'T'','N d"n'ed, their Judgment rihicuied,
hasrlr dr.arod into Tho vortox oT Gov.
ro,s.., 10 ,o,,,,,., m .rtis,jc