New-York tribune., 1920-12-03
Concert Given
As Memorial
i 70 Beethoven
symphony Society Contrib
utes 10 Musical Exercises
Marki ing l5Oth Anniver-
>ary OF Composers Birth
bosiou Orchestra Heard
Programs of Wide Variance
MGR K Afternoon and Even
.n=y Fetss az Carnegie Hall
/ " H. f. Krehbiel

/ " H. {. Krehbiel
= t,vo concerts IN Carnegie Hall
restelday performances were given to
our SynDr uDics, two symphonic poems
md q suite The audiences were quite
cistiaCt N imposition and character,
i.owcver; tn 'ugn that Of the after
noon. which xard three symphonies by
Beethoven. M e have felt that the pro-
rram WAY som ewhat ponderous, it was
upheld by the feeling that il was par
;ic:patirg IN am act OF commemorative
celebration. FOR the concer1 was the
SvrnnoNN Socie rs contribution to the
musical exercis As which have been
planned in honor Of the 1o0th anniver-
sar,- OF the birth of the master who
brought the SYM Gonlc form to per
lection. and also, rs some think, to its
lnal elimination.
Boston Orch .stra Heard.
The program of t Ne Boston Orches-
na. which gave the, evening concert.
Knew nothing OF Beet tovor, but paid It's
tribute TO Rraams (his spiritual
nrotherl. Maurice Ravel, Richard
Strauss and Ottorio ,eapighi. the last
gifted member of ti% coterle OF lat
tcr-dav Italian musical. snpressioniSts.
rosch selected as illu sfative of the
master who will occupy the minds OF
concertgoers largely duting the next
lew weeks were the first. tifth and sev-
enth though they were not presented
in that order, Mr. Dararosch having
med evidently at sounding jubilant
note 81 tfc s1- 6-,- l. tliu uplai
and triumphant march of'che symphony
IN { minor.
This work and the seventh of its
kind had already beeen heard in the
present season. More sign ticant, from
= historical point OF view. was the first
n c major. which is otfsssl to the
public. we should say. aboat once IN =
decade II fitted we'll INTO the histori-
al scheme which Mr. Dararosch is
pursuing II a special series Of con-
ccrts. for Il bridges the gap between
Haydn and Mozart and the strongly
lndividtAl beethoven. ~ he disclosed
himself frst in the "Eroica"
II is. 10 orcrYcr, the oldest orchestral
work of the composer which has sur
vived in the concert rooms of the
ToriG. eId IT'S only stil sentient pred
eceSsors- are syo pianoforte concertos.
compositi ms Its speech has much Of
-h- dicm Of HAYDN. more Of ,he
spirit as " I'll a iGiom OF Mozart. bat
the giowiag' eye of Beethoven looks
ont Ct every movement.
Com psises a Minuct
Its third set xion :; called a minuet,
M the iocose. madcap spirit of the
scharzo has air .ady touched its meas
ures. The sym pheay was certainly
conceived ard la relv written down be
Ferc the wear i ~. when it was first
a=rforr cd Tor Bctthoven was SLOW of
production and tae theme OF the
.oher-o was used Y him in German
dance written for a ball in the Ridotto
room several years before the SYM
1hory vas brought put.
NJ DamroscA had the singular in
Production to the fins e. played solo by
his concertmaster. a dubious device.
Why not follow Beeth oven and permit
al the first violins C make that hes
tating approach TO ne effervesc
funo MO which. after moment, they
dash Win such Cayety'
Time ras when the little introduc
'.ou VS. thought scarce " worthy ct
no COMPOSER. One Germ IN conductor,
roar 10 nifa IN time. omit ed II IN per
Torrance, fearing that il would pro
'ole Gerisiol'
M. Monteuxs program inf the' eve
ing consisted of Brahms's Sy uphony in
+. minor. Ravel's lie Tom beal. de Cou-
perrin" Respighi's "Fountains cx Rome,
and Strauss'S "Till EulenvplegeP
Merry Franks" The Boston CO nductor,
On mis- first visit, changed his rogram
because another conductor had few
aays before performed the symphony.
hich ne had planned TO play.
he vas placed in the same dill emma
again last night. for M. Stokewski
ehose the Branms symphony as the
var horse of his second INVASION OF
Nev York Thr temptation to conr,pare-
.ha t~o performances Is strong. but
mus, be resisted II will sufiice 10 say
~: there vas mctlculOus nlcety IN the
performance OF the Philade!phian
y.riiity in that Of tae Bostonlans.
Charm in la, els Music
Tne Ravel suite, novelty, was
ffanscr8otion o. four pieces from d set
of SIX dedicated By the composers 10
companions in arms VINO were killed N
TIE war The forms we're archaic, the
piri. of the pieces, by which we mean
'le mclodic harmonic and instru-
nental expression, modern. Couperin
IS an archaic composer but his ballet
eu.tcs are delightfully."- fresh and
lovely.
Tne1e is much charm in Ravcls music
also wnou not married. a in the For
axe. b, strenuous effort to avoid the
t3F4cU~.
l. . plt.fal cry this: "Savc me
i.
nral1liaecly !agratiating and lovely!"
b-. tn- .mmortelles which hang on
Cooperir'a tomb are Of that kind. The
notrcure blooms OF Ravcl Will not Ire
50 lore.
Resp gn.'s symphonic poem "Fon-
-anc d Roma" WA played at con-
ecr. Or thc Philharmonic Society in
.eor1arY 1918 A pretty poetcal con-
celt hes q - base-the composer
>:iYes musical expression 70 the senti-
.ncnts and Visions evoked by his con-
fe:aplat;on of four famous fou,tains in
ne ancient CITY of Itaiy at The hours, -
r. say1. wren their character is ,nost
n harmony win the surrounding land
sca2e Or IN which their beauty appears
'aost impressive u the observer
50 VIC nave the fountain of Vale
'dDla, DaatoTal picture, cattle pas.
as aud c.ssppearirg n the mists ot
t~ssSnnazuDnvszspuuusuxan susaszzsuuuu