New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-04-10

. MISS Null ltlulllE' WIN VII ANpi'
leading woman Of tn
Titan" but he struck it out and eH-
planned 20 this writer that u had Deen
attached to the work because some
body compelled him 20 give 1t a name
at the point Of a revolver speaking
fguratively. Of course.
All compositions with vocs! parts ind
programmes in their text; so Manlcr
second and fourth The third has de-
scriptive titles and sub-titlcs which
form a voluminous programme. Tn
hymn is a programme for the first
TART Of the eighth the scene from
Faust" programme for the second;
but what is the spiritual link that
binds them? Love and its transhgur-
ing power. Of course; but why VEN.
Creator" and the Chorus Mysticus 4!
Each might stand for itself and be
complete. Associating the two does
not necessarily explain either. nor does
J., make a symphony Of choral work.
Rantock's scheme in "Atalanta 10 Caly-
DON" Of using voices in groups like
instruments. but using the symphonic
form and style. had more 90 commend
j.. But the designation is not matter
Of moment; by treaiirr hymn and
4 dramatic scene in the modern mis-
sal. cantata and even opera style ana
calling the result a symphony. Nahler
did no more than proclaim his attitude
toward the music Of the mast and his
conviction Of his own power As a form
ative influence IN the music OF the
future
The large array Of voices and instru-
ments employed IS equally lnconse-
Guential If by their use valuable e.
fects are produced which could not be
reached by more modest means, well
and good. The end iustiiies the means.
There are many instances i'm the work
in which extremely beautiful, effective
and expressive utterance ~ accom-
plished by the use Of instrumental and
vocal combinations which could not
have been achieved By any other means.
7 The crashing sOnorities were we en-
ploved in the splendid opening phrase
Of the hymn. though We would gladly
have dispensed with the din or the
extra choirs OF brass in the Two nnales.
The ethereal and transcendental Color
of the "lnfrma nostris corporis' until
tho entrance Of some disturbing gro
tesqueric. which fortunately did not
endure long, was a glory accomplished
by the opposite means By ioVelhess
Of melodic thought and appropriate
ness of expression. In this there W@'
spiritual exaltation. as there was I'D
.be music sung by Florence Hinkle, a
"a penitent formerly called Gretcnen'
and especially in the instrumental m
PRODUCTION 10 the "Eaust section. mere
tho real idealism Of the composer mace
itself convincingly felt.
II was q TRANSPORTED delineation OF
the physical scene. the mountain clclts'
forests. cliffs and solitude OF the place
where earth and heaven seem 10 meet
IN which holy anchorites dwell, ana
around which angels and the spirits al
ready blest and those ascending 10
celestial bliss float and hover.
The Parsifal mood il not altogetner
explicable. but II IS marvelloNsIy
caught and beautifully sustained
though. for a dangerously long perlou'
as is also the mood of the penltenl
sinners. though here. az IN me midole
Of the HYMN. the invention OF the com
poser halts. and there Is overmueh o.
iabored and Ineffective STRIVING Never
theless. 90 a whole the second part IS
sunerior 10 the first both IN beauty
of conception and effectiveness OF eN-
o.,,,ior But we fail 10 see that n
adds significance 10 Goethe's poetry o,
clarifies its meaning ~ may SCUM
heretical TO say That the proiouhueSs
er,o.ion which il left IN the writer o.
,b;s review was longing 20 hear
ocain the more than surprisingly
beautiful music which Schumann com
/ coed for the same text. There VIC
Z bavc a spiritual exaltation which sur
rounds each poetic utterancc IKE a
celestial halo, n tenderness when IS
;norable celestial serenity which is
v,boIlv unr1ixed with terrestrial GROSS
and elcquence which Is ravlshlng 10
I t,o eoul as we'll as the senses. Mahler
r,nsic is lovely; Schumann's - exqui-
tell transportingly. sublimely beau
ami and TRANSPORTED. Il is the real
,onal Modification OF Goethes marvel
f lous nllegory. go, n,,.t.,
Tbe performance entitled Philadel-
rb;o,s musicians and Mr.. Stokowshl 10
/ a rich and fragrant guerdon oil praise
/ Tho precision OF the SINGERS was ao
+ ,irable. their nuances eNceIeh' anu
.beir enumeration of the text highIy
cornmcndablc. Greater euphony ,nign'
have been given to the 3rchestsr r p. ~
, mt praise can be withheld from we
: orchestra as little rs Il can from the
o charms II was a large task which our
/ neiohboring city undertook. but ~ 'ac-
complishe. i IN q manner tnal VIII
/ long be remembered here. wneTe inc
rbstacles to such an undertaking are
ali but insurerable. OF the solo sing
ora Mics Uinkle. Miss keyes and Mr.
I Werrenrath carried of the greenest
laurels. though this was partly due 20
tho finer opportunities which the score
offered them. The solo tenor Mr..
Lambert Murphy suffered cruel treat
ment at tho hands Of the composer;
nut he endured It bravely, as a $50 did
Mr. Whitehill All concerned were
( Given an ovation At the end Of the first
! part and again on the conclusion Of the
uork-