New-York tribune., 1920-01-12
'linle-Tried Music
Marks Concert of
Symphony Society
lwo Novelties Introduced
Between Smetana's Over
ture and Preludes to
Wagner's 'Meistersinger'
By II. E. krehbiel

ny l. l.. NTCnOlSl
pood old music, 20 wit Smetans :
overture to The Bartered Bride" be-
san the concert of the symphony Soci-
ETY. IN Aeolian Hall yesterday after
noon, and good old music, namely. the
lreludes to the first and third acts OF
"agner's tersinger.' ended it. Be
tween these numbers Mr.. Walter Dam
rosch introduced two novelties-a sym
phony by John Alden Carpenter. which
was music by an American, and a
pianoforte concerto by Tcherepnine.
music by Russian in which the solo
part was played by Mr.. Moiseivitch,
also a Russian.
III this list eNordium aud percratlon
spoke for themselves; the other pieces
ca!l for comment because they were
new. but also becauss they were inter-
esting as we'll as new Mr.. Carpenter
IS, or ought to be, a man Of contented
mind. The "slings and arrows of out
fageous fortune" have left him unas-
sailed; he has been happy in the in
hcutance of this worlds material
goods and he has walked in the ways
OF peace and happiness in his pursuit
If high ideals in art.
Success Well Deserved
So far as we know no one has be-
sludged him his success, and all who
have had occasion to observe it have
leJolcel with him in his achievements
The symphony which we heard yester-
day was composed three years ago and
received its first performance at one
of the concerts of the festival of the
Ltchfield County Choral Union, at
Norfolk Conn, on June 5. 1917.
The composer then disclaimed that it
was IN any way programmatic, and
though 1t seems to have acquired a
notto-tltle since, 1t is programmatic
only IN the sense that all music Of
lofty aim justifes the epithet. It's
title Is Sermons in Stones" ard in
explanation OF this we are told that the
connection between the music and
Shakespeare familiar words lies in
the expression of optimism which they
lave in common.
This is not largely illuminative, for
the fundamental theme of the compost
ton is somewhat heavily weighted
with melancholy, and in the last sec
ton it becomes dirge-like. although it
puts on an antic disposition in the
jocose second movement and frequently
scars up in manly energy.
Bargemeni's Song Recalled
At the beginning Of the third move
ment, whi>h is its last it is as heavy
hearted as the song of the bargcmen
OF the Volga, which it recalls.
This regarding its Psychology or
emotional content.
From purely musical point Of
view we are constrained TO add that
the multitudinous transformations Of
It's ground theme, and their some =
times garish harmonic and instru-
mental outfit, prompted apparent
" b VA desire to be modern at
all costs. do not give it the
originality that was sought for.
= iino degree of rhythmioal effects is
scmet4mc1 obtained, but oftenest
waen She striving for it is least OBJ
vious, and never, so far as we can re
call, by any OF the assaults by the
formidable battery of percussion in
strumcnts
Nv. Carpenters four kettle drums
bass and side drums, cymbals, tri-
angle. gong, tambourine and tam
tam do not once stir the pulses of his
listeners as much or as agreeably as
his use OF the rhythm Of Saint
SaGns's "Danse Macab.e" in one of
The variant forms employed III the
second movement. Many Of the
'aDoriousiy sought instrumental eff
fleets are futile. even the stlumming
Of tho violin. 4 la mandolin, in the
Scher@o, although this provided q
pleasant utilization of the tympanum
for moment.
Adagio Movement Striking
Bravest and best of the devices en-
ployed, it seemed to us, was the
splendid, broad song of the strings in
the opening Adagio. The theme Of
the work was never so effectively pub
lished afterward Instead of struggling
hard to find new forms Of expression
we wish that Mr.. Carpenter had acted
II harmony with the lines addressed
by The Duke TO Amiens tnot 20 Jacques,
As the annotator Incorrectly said in
ihe beginning of the speech from "As
You Like It"
Hath not old custom made this life
more sweet
Than that of painted pomp?"
Mr.. Carpenter has listened to mod
cru composers; and not in vain He
has hearkened unto the voice of
Stravinsky. For that we do not blame
MIN. 1t is not necessary to close ones
ears to the utterances of ones prede-
cessors or even contemporaries in
order to utter individual thoughts We
We're once impelled to say regretfully
of the late Mr.. MacDowel's statement
that he did not go to concerts for fear
that his manner might be influenced by
what he heard as was said Of Bona
pai-e that grand. gloomy and peculiar,
he sat upon the throne q sceptred her
N It, wrapped in the solitude Of his own
originality"
Feet Still on Earth
Mr. Carpenter does not look upon
himself rs perched upon cloud
shrouded Olympus. He is still willing
to walk among his fellows upon the
earth. SO is the Russian composer
whose concerto lin c sharp minor) was
heard Yesterday. Mr. Tcherepnine
seems, indeed TO be even more willing
than Mr.. Carpenter 30 be classed
among the cclectics His Wagneran
echoes especially OF the music which
accompanies Siegfred as he climbs the
mountain to awaken his bride) are
delightfully."- frank. Yet his concerto is
splendidly strong and self reliant. Mug
covltlc in it's vigor, yet not slavish in
adherence to Russian idioms.
There is little OF tenderness in it, or
gentle grace. but beauty. nevertheless
1t is NOT music of the kind to show Mr.
Moiseivitch' s qualities in their bright
est light, because of its indifference to
mere sensuous charm; but it was