New-York tribune., 1919-11-08
Music
Classical. Imprcssionistic and
Academic Compositions atCon.
cert of New Symphony
By II. Z. Krehbie]

The visit of the Boston Orchestra
separated the concerts of the Now
Symphony Orchestra's third brace nv 81
day. Consequently Mr.. Bodanzkv and
MS men were heard at Carnegie Hail
on on Wednesday evening instead OF
thursday and yesterday afternoon
he program WAS the same at both
meetings, and the compositions ronre-
sented the ideals Of the CLASSIC porjod
and two divergent tendencies of TO-
day. Lusty strength and the iov Of
iivlng were the dominant notes in three
OF the TOUR pieces played IN Schu-
pert symphony IN generally called
the seventh. because thus catalorued
by Breitkopf and Hartel, bu, des,r-
mated the tenth by Sir George Grove
who proved 1t was composed only eight
months bforo Schubert's death and that
1t surely had been preceded by eight
works III the form and probab y nine).
Ernest Bloch orchestral poem.
"Spring.' and David Stanley Smiths
Prince Hal overture
In the fourth piece, Mr. Bloch's
WINTER, companion to the Spring"
WAS the only tinge of gloom that was
permitted to fall INTO the concert room
II was not. however. of the kind to
act depressing Y on the MOOD Of the
listeners. Provocative Of curious in
qullles 1t may have been to the many
VINO, accustomed 70 coniure up natural
scenes or psyche cgcal states when
ever they hear music. must have had
their ingenuity taxed TO associate
strains which when they come from,
Debussy are supposed to delincate the
bewl idered memories of drunken faun
mad ne seen nymphs or only evans -
with thoughts and emotions evoked bv
dreary day OF winter when they come
with Mr. Bloch's labe
In the case Of M Rloch's music. as
in that OF Mr. Smith. greater content
ment was found yesterday by listeners
who reso!utely threw the programmatic
Titles TO the winds Tpe fact which
ought to have been obvious to overv-
body was that the scheme illustrated
three types of muSic-onc belonging
to the past. the other two to the pres
ent. In the first Of these types the
classic the symphony. Of course)
beauty OF thought was united in deal
wedloek with the vehicle OF expires
In the second. Mr. Bloch's pieces
something other than pure musical
contents was poured into new Ncssel
albeit an ingenious and honest one) .
and novelty Of harmonic and instru-
mental expression was supposed to
comDen safe for the paucity of beauti-
tnl ideas. In Mr.. Smiths overture an
academic but focund and ingenious
mind tried to bring the extremes rep
resented by Schubert and Bloch INTO
union. In lis way ALI the composition
had clements of beauty. but it was only
the symphony which proclaimed the
evangel Of loveliross with an eloqueuco
that left no querulous Questionings or
doubts in the minds o. the hearers.
1t Wa in the symphony. too, that
Mr.. Eodanz1y made stronger the admi-
ration which . multitude Of local mus ic
lovers fee Tor him He opened The
gates o. the composition 20 rs care
free. juDi!ant. roliicking spult and let
/ pour forth In food Of beautiful
,ound. There is nothing hidden in this
long Fusb Of happy song and he did
not NEEDLE with lis text in an attempt
to drag forth new signifcancos. To
our thinking. in an effort to bring
forth the effect Of contrasting mclo-
dies he clogged the flow of the second
thome Of The Hrst movement aud nat
q we gh' on the houvant uudulations
of the trio. Bnr. ii TINS We're a fault, it
was Neral ard wa atoned tor hun
dredfoid uy the Clarity and eloquencc
with which he made all the ius5fu-
monts ing. The audience felt the
music .S q vrritahla iOv