Wausau pilot. [volume] (Wausau, Wis.) 1896-1940, 1921-05-26
MUSIC LOVERS
GIVEN TREAT
NEW YORK PHILHARMONIC
ORCHESTRA PLAYED
ON FRIDAY

The concert of the New York Phil
harmonic orchestra, the closing event
of the convention Friday evening, was
one OF the greatest treats that Wausau
music lovers have ever been privileged
to enjoy. An orchestra of the stand
ing of the New York Philharmonic
needs no introduction, and the bare
mention of its coming was enough to
insure large audience, especially in
view of the fact that countrywide
tours by the large symphony orches-
tras are becoming a thing of the past,
and similar opportunity may not
present, itself again., The seating of
the Park pavilion had been carefully
regulated so that there was no uncom-
Portable crowding, although the or
chestra played to capacity house.
Program Justified
A first glimpse of the program might
have tended to cause slight misgivings
in the minds of some. An array of
Bach, Beethoven, Rubinstein and Wag-
ner looks rather impressive to an audi
ence not thinking itself used to that
type of music. But after all this atti-
tude is largely imaginary for perfect
music perfectly played is enjoyed by
everyone, and the results of the even
ing amply justified the choice of pro-
gram. The appreciation was universal
and the large audience was very we'll
satisfied at being rewarded with an
evenings entertainment of character
rarely heard in Wausau.
1t is useless to attempt a criticism
OF the playing and Interpretation of
the distinguished musicians compos-
ing the Philharmonic orchestra, or to
add to the written or spoken laurels
that have been heaped upon them and
| the conductor, Josef Stransky. 1t is
SUFFICIENT to rest secure in the know
ledge that their work is of the best and
one need only listen and enjoy.
| The first number was a Prelude,
Choral and Fugue, by Bach, a presen-
tation of the three forms of music for
which that master is noted. Bach is
one of the earlier composers for the
symphony orchestra in that his work
is the basis of the orchestrations that
were perfected by Beethoven and other
later composers. He is best known as
composer for the organ, and his
work is of religious character, de-
veloped from the German church mu-
sic.
Individuality
Beethoven's symphony No. S, in c
minor, the second number, was consid-
cred by many the best thing of the
evening. This work, together with the
third and ninth symphonies, Is one OF
the most popular of all of Beethovens
longer compositions, and is said to
possess an individuality not duplicated
in any of his other works. The first
movement is built up of variations
and repetitions of theme of four
notes, while the second, the andante,
is slow movement of wonderful ex-
preston and varied themes. Beet
hoven, realizing the inadequacy of the
minuet in the symphony, substituted
for the third part the scherzo, giving
| 1t, however, a latitude not within the
strict meaning of the term, and this
scherzo of the fifth symphony is point
ed out as brilliant example of this
innovation. A prominent feature is a
fast passage for the double BASES.
In contrast to the previous selec-
tons the orchestra played thorough
ly American rhapsody, "Culprit Fay"
to which added interest was given by
the fact that the composer, Henry K.
Hadley, also directed the rendition.
This music was awarded a prize of
$1,000 offered by the National Fedora
ton of Music clubs when 1t was first
performed In 1909 at the national con-
vention at Grand Rapids, Mich. The
selection pleased the audience greatly,
and it afforded an excellent display of
the individual ability of the musicians
in occasional solo passages, as we'll as
the perfect unity between the conduct
or and the players. Mr.. Hadley has a
very quiet manner of directing, SEEM
ing almost effortless, but effective
Mrs. Quick, Pianist
Mr.. Hadley also conducted the Con-
certo No. 4, in ID minor, by Rubinstein,
a selection for piano with orchestra in
which the piano part was played by
Mrs. Georgia Hall Quick, of Milwau-
kee. Mrs. Hall Quick is well known
to Wausau audiences ana her mastery
playing of the Rubinstein concerto
confirmed the high regard in which
she is held here.
The last number on the program
was the prelude to "Die Meistersing-
err" Wagner's only comedy, but the
audience was not satisfied to leave
with that, and continuous applause
brought Mr.. Stransky back to his
desk. AS an encore the prelude to
the third act of "Lohengrin" was given
and II was played with such apparent
whole-hearted enthusiasm and enjoy
ment on the part of the orchestra that
many were ready to acclaim it the