New-York tribune., 1920-03-17
Beethoven Society
Presents Pieces
Never Heard Here
S'Cantata on the Death of a
Hero" and Rondo Are
Features of Fine Program;
English Text Is Given

The Beethoven Society is an orpani-
cation virtually unique in the musical
life of New York. To all appearances
it is wholly free from any taint of
commercialism. The members. distin-
guished artists, contribute their serv-
ices without remuneration at its con-
certs, which represent a high ideal
nobly striven for-the perpetuation Of
the name and glory of a musical giant,
Without other press agenting than the
admirable quality of the programs and
the superior merits of the perform
ances these concerts which came into
existence only few months ago. have
created for themselves large and
loyal following.
The prestige of the society was
further enhanced last evening bv the
performance of two works never before
heard in Anne rca, and but few times
anywhere, the "Cantata on the Death
OF Hero," for soprano and bass solos.
chorus and orchestra, and a rondo for
piano apd orchestra in B fiat.
or the two the cantata, of course.
assumed the. greater importance on the
program. According to the program
notes contributed by Henry Edward
hrehblel, who also furnished the Eng
ilsh translation of the German text
written by q young theological candi-
date, Anton Averdonk, the cantata was
composed in March 1890, when Beet
hoven was twenty years old, for com
memorative service on the death of
Joseph III, Emperor of Austria and
brother of Max Franz, Elector of
Cologne, in the service of whose court
at Bonn Beethoven was employed at
the time. In adapting words for this
concert Mr.. Krehbiel freely para
phrased the text so as to make it ap-
plicable to any heroic liberator. and
with one of his own heroes, Lincoln. in
mind.
The cantata consists Of two choruses
recitative and aria for bass and a
recltative and aria, with chorus, for
soprano The music is a glorious hymn
OF mourning. 1t belongs to the greater
Beethoven, if distinctions are to be
made, concerning the work of the mu-
slcal giant whose name lives forever
and whose chant Of genius goes on un-
changed through the ages into eter-
nifty. Beethoven himself appreciated
the value Of this youthful work, for
fifteen years after it's composition he
used the melody of one of its numbers
with key and oboe solo unchanged, in
the finale of "Fidelo," and the opening
chorus of the first number as the be-
ginning of the music to the dungeon
scene.
The cantata was reverently per-
formed by an orchestra composed of
members of the New York Symphony
Society, conducted by Sam Franko, and
selected chorus from the Schola
Cantorum. Mrs. Julia Griffith and
Fred Patton, the soloists, sang with
arresting beauty Of tone and excellent
diction.
Earlier in the evening the other nov
city, the Rondo, was played by Rudolph
CAM with the lightness Of touch, fleet
ness and suave elegance with which his
playing is indisputably associated.
This rondo, presumably written for
Beethoven's First Concerto in B fiat,
has a cadenza by Czerny, who also
elaborated the piano passages, only
suggested by Beethoven
But there were other delights on the
program. The evening opened with Sc
lections from "The Ruins of Athens. "
These included rousing performance
of the Chorus of Dervishes and the
Turkish March, both of which were
repeated to the JOY of the audience
Then the Serenade for flute, violin and
viola, in D major, Op. 25, was played
by George Barrere, Gustave Tinlot and
Rene Pollain, marvellous exhibition
Of perfect ensemble and exquisite
tonal beauty.
George Hamhn's contribution was
the singing of the cycle of six songs,
"To My Distant Beloved" for which
Mr.. Ganz played the accompaniments.
Altogether it was a great concert and
one of the most important events in
the musical life of the year.