New-York tribune., 1920-12-12
AMONG THOSE WHO WILL APPF

which he was passenger, was burned
at sea. He was rescued, exhausted.
from raft by sailing vessel, carried
TO Fayal and thence made his way to
New York. lie went back to Germany
in 1866 and died in 1882 ~ Wiesbadcn.
Early Symphonic Interpretations
Ii it were net easily possible to
duplicate the example to-day from the
writings Of program annotators, we
might look with moro amused com
miscration upon the Interpretation
which appeared on the program leaf
Of the concert at which the "Eroica'
symphony was first performed in New
York. Who the writer Of the com
mentary was we never tried to learn,
but it is significant that it appeared
at intervals on the programs of the
society for twenty-five years until an
indignant protest from The Tribune's
reviewer seems to have given it its
quietus. But while reproducing it as
a curiosity of musical literature, we
are disposed to be charitable toward
the writer when We think of other
programs which We have read and re-
call some Of the things which have
appeared in so-called histories and
biographies. But here it is:
"This great work WAS commenced
when Napoleon was First Consul and
was intended 10 portray the workings
Of that extraordinary mans mind. In
the first movement the simple subject,
keeping it's uninterrupted way through
harmonies that at times seem in al
most chaotic confusion. is q grand idea
of Napoleon's determination of char
acter The second movement is descrip-
tive of the funeral honors paid to one
Of his favorte generals. and is entitled
Funeral March on the Death Of
Hero
"The winding up of this movement
represents the faltering steps of the
last gazers into tho grave. and the lis
tener hears the tears fall on the coffin
ere the funeral volley is fired and re-
peated family by an echo. The third
movement (minuet and trio) describes
the homeward march Of the soldiery,
and the finale is combination OF
ItCuSH airs put lOStlHtl
in a manner that no one save a Beetho
ven could have imagined"
To find revolutionary airs in the final
variations Of the "Eroica' was Gu
rious intellectual feat, but no greater
one than the same writer, obviously,
accomplished when he came to ex-
pound the seventh symphony. In this
ha RI n y
Eurydce. The Introduction pictured
to his mind the settled despair of the
tabled minstrel consequent on his be-
reavement"; the first movement his
journey to Hades; the description of
the allegretto must not be withheld
from the curious reader Here it is:
THE slow movement the gem of the
composition may represent his Cor
pheus) cautious step as he approaches
the sleeping Cerebus, who guards
the gates of the realm of Pluto.
The monster awakes and, lashed
into fury, seems TO make catlike
leaps to and fro, while Orpheus CON
tinues his timid march, and ever and
anon the waillngs Of Eurydice are
heard all, however, becomes hushed
when he sings, and Eurylice and he
again approach the barrier which d-
vdes Hades from the outer world with
the same fearful march.
alas for male curiosity! ne turns
his head, and as he beholds the fleet
ng shade the movement ends. The min
uet and trio may describe his home
ward journcy--hurr.e and bronon-
and the finale his state of mind when
he knows he is forever parted from
Eur dice, and viii be found in many
parts to be the very embodiment OF
mental Distraction