New-York tribune., 1919-12-11
Tone-Poem of American
Composer Is Played by
New Symphony Society
to Carnegie Hall Audience
Based on Play by Wilde
Musical Craftsmanship De-
serving of Praise, But
Imagination Is Lacking
By H. E. Krehbiel

oy i. L. NTc0D1cl
There was much noise at the concert
OF the New Symphony Orchestra in
Carnegie Hall yesterday afternoon
much more than was called for by COM
positions on Mr.. Bodanzky's list. There
were the symphony in E minor by
Brahamis; a tone poem intituied "Sa-
lone" by Henry K. Hadley and Wag-
ner's overture to "The Flying Dutch
man" Some of the unnecessary noise
was due. we imagine, to the rude and IN
tractable nature of the brass choir of
the band. some perhaps to the fact
that Mr.. Bodanzky had not had time to
apply Christening and refining hand
to the players. We should be sorry to
think that his conception of the last
movement of the symphony-the least
familiar of the composers works and
the one most in need of affectionate
and reverent attention to detail il the
character of it's beauties is to be placed
before the hearing, thought, emotions
certgoer--was that presented to OBJ
servation yesterday. 1t is a little sim
gular that it was this movement which
had the admiration of Anton Scdl, who
always stood aloof from the Brahminic
congregation, yet delighted TO make the
somewhat austere passacagiia Pc
culiarly eloquent proclamation. He
was content to reel off the preceding
movements, even the roistering Allegro
giocoso, as if they did not signify much,
but always threw himself heart and
soul into the finale, which was merely
erudite caviare to the general. Mr.
Bodanzky let the winds rage IN it yes
terday whenever they were so minded,
and it was the crudest performance of
the afternoon.
Hadley Conducts "Salome''
Perhaps he placed too many of his
rehearsal hours at the disposal Of Mr.
Hadley, who conducted the composition
which has r ade the most noise in the
world, literally and fguratively Of all
his works "Salorle" was composed
some thirteen years ago when the
American musician was sojourning in
Europe. 1t was heard in Berlin, Lon
don and other capitals at that time,
IN Boston in April, 1907, and at a
Philharmonic Society here in Novem-
ber, 1908. Mr. Hadley is not one of
those American composers of whom we
so often hear that their music re-
mains imprisoned in their writing
desks. He is fecund in production, to
fecund we regret to say, and those whe
have wished to hear his music-sym
phonies, symphonic poems, overtures
cantatas and pieces for the chamber
have had ample opportunity to gratif
their desire, though darkness has ofte
settled around it after single hearing
Richard Strauss's opera lived out it's
fit VI life a decade or more ago, but
slnce--Massenet's opera "Herodiade,' ,
in which the woman who danced the
head off John the Baptist's shoulders
is pious sentime entalist-and only a
few days ago Florent Schmitts suite
drawn from the tonal illustration of a
dance pantomine.
Lurid Series of Incidents
1t was a crowded, lurid, change
full series Of incidents, which Schmitt
attempted to accompany and illustrate
with his music when he made his
setting of Robert d'Humieres's
photographic dance play. Herod walk
ing on the terrace of his palace with
the Dead Sea and the mountains Of
Moab bathed in the colors of the
setting sun as a background; Herodias
lifting garments heavy with gems and
gold and massive strands Of Orient
Pickering light of torches; Salome
arraying herself for the dance and
essayng it for her own childish de-
light. Added then to this picture of
the sea in its sinister and magical as
poets; its rising phosporescent lights.
vision of the cities whose wickedness
caused them to be buried beneath the
waves; sounds of sinful orgies. songs
ascending from the ABYSS; storm,
the lightning flashes of which reveal
Salome dancing the lascivious dance,
which inflames the lust of Herod; his
pursuit Of her; the capture and the
stripping of the veil from her shoul-
ders and limbs; the apparition of the
Baptist who hides her nudity with his
cloak; the vengeance of Herodias; the
decapitation; Salome carrying the head
of the prophet on charger and hurl-
ing it over the battlements into the
sea, whose waters turn a bloody red;
the frantic flight of Herod, Herodiaa
and the executioners; the falling of
Salome into a swoon and her anguished
terror, when the head appears to haunt
her at every turn; the frightful storm
on sea and land-sulphurou clouds,
surging about the precipce, the roll
ing sea, flying pillars of sand, crash
ing cypress trees, mountains vomit.
ing forth flames and the dancers swep.
hither and thither in the universal
frenzy. These are pictures for a
painter, poet and even musician. If
he can call upon the eyes as we'll as
the inf1amed fancy, as we'll as upon
the ears to observe the awful spectacle.
Schmitt ventured far and with astound-
ing success in his composition, because