The sun. [volume] (New York [N.Y.]) 1916-1920, 1918-10-16

patient In the spirit Of this time. offered
10 us one OF the fairest blossoms In her
unsurpassed bouquet OF culture, n per-
feet flower from her garden OF peace.
Andre Messenger, who had already
visited us rs a composer. and who has
been an impresario Of the Grand Opera,
came as the successor Of Habeneck Tho
orchestra itself n composed largely Of
professors In the Conservatoire and FIRST
prize pupils. France gives royalty in
music as in war. The audience was in
the right mood and received the offering
with acclamations Of Joy.
Gold Wreath for Director.
After the second number on the pro-
eramme Otto II. Kahn. representing the
directors of the Opera House and the
French American Association for Musical
Art, delivered a short address of welcome
and, presented TO NJ Messenger gold
laurel wreath.
The programme was long and COM
posed entirely OF French music. The
numbers we're Berliozs "Benvenuto Cell
lini' overture. Cesar Franck's symphony,
Saint-Saens's symphonic poem lie
Rouet dOmphale," DukaSs orchestral
scherEo "L'Apprent sorcier." Debussy's
"Nuages" and 'Fetes" and Lalo's Nor
wesian Rhapsody" II was a condensed
history of French orchestral music OF
the modern type, and It wac well suited
to disclosure Of the fine qualities of
tho orchestra.
These cannot be discussed In detail
this morning. Foremost OF all, however.
was the great beauty of the body of in
etrumental tone. and this was plainly ex-
hibited In spite Of the voluminous
draperies OF bunting all over the house.
These were very pretty, but they were
not OF acoustic benefit The smooth,
round. clear quality OF tone was due un-
doubtedly to the presence Of good in
struments in the hands of capable ar
lists. Solo passages, such as those for
lsthe horn in the symphony and for the
oboe In the Saint-Saens number. deep
tned the conviction that virtuosi OF high
skill were In the orchestra.
But n the end an orchestra in ensern-
BILE, and It was the rich, mellow, fluid
| singing tone of the whole body that best
showed the vocal quality OF the orches-
| ira 1t was to be expected that dhe
wood wind would be admirable, for we
get all our best wood winds from France
| or French masters. The refinement of
the brass was paired with its virillty
and the strings were a constant delight.
| for the Conservatoire IL famous for its
| masters of the violin.
An Artistic Success.
The style Of the orchestra as made
| known last evening 10 conspicuous for
elegance and finish. II does not lack
| force and influential eloquence or delicate
vivacity, as was proved in the Cesar
Franck composition.
NJ. Messenger revealed himself as a
scholarly rather than an aggressive con-
ductor, not weak or indecisive. not
| wanting in perspicuity and clearness of
purpose, nor without temperamental
traits. But his readings were note
worthy chiefly for their polish, their nice
appreciation of dynamic shade and their
fastidious Justice in tempo. All that he
did seemed to be its own plea for ac-
ceptance. and II he offered nothing to
| arouse great emotion. he presented suf-
ficient to give continual pleasure.
1t was, then, a happy evening. No
one could have doubted for n moment
that the Conservative orchestra could
be anything Of less than the first rank,
but doubtless the most experienced list
eners found their hopes more than real
lied in the exquisite finish. OF the tonal
balance and the style of performance.
The second New York concert Of the
organization will take place at the
Metropolitan Opera House on Sunday
| evening. Meanwhile there will be OPP
portunity to give further consideration
to the artistic significance Of this visit
and to the merits Of the orchestra.