New-York tribune., 1922-01-30
Stirring Farewell
Ilavcd bv Stranskv
I'm "l8l2" Overture
ph,lhormol,;c Patrons Give
Ovation to- Conductor:
Coates Introduces British
Novelty With Symphony
Bv II. E. krehbiel


Mr.. Coates introduced some more
rev music by British composer at a
concert OF the Symphony Society in
Aeolian Hall yesterday afternoon, and
patrons Of the Philharmonic Society at
Tho same hour in Carnegie Hall.
simultaneously the walls of both rooms
echoed to the strains of Tschaikoffsky' :
Francesca da Rimini": but that was a
mere coincidence, which meant nothing
more than that in making up q large
number of programs in which the pub
lie must be humored the two conduct
ors hit upon the same work of popu-
lar composer at the same time. Tschai-
kofsky is earflling and must be
played often; he is peculiarly ear-fll-
lnasmuch as Mr.. Strsnsky evidently
wanted to leave after him echoes which
should not be mere ripples but veri-
table surges on our musical waters he
chose the stirring piece in which Rus
sian music enters into combat with the
rench national air and overwhelms it,.
That its sonorous glory should be as
great as possible he augmented tho
brass band music in the finale (Which
IN our concert rooms is generally Gag
gravated,' in Bully Bottoms phrase) to
make it sound as TschaikofFsky intend
ed it to sound at its first performance,
which took place out Of doors. The r.
suit was highly acceptable to the aud.
ence, which had given the conductor all
overwhelming ovation after the per
formanco Of the first number of the
program--the "Heroic" symphony. The
hero celebrated by Beethoven at the
beginning of the concert was van
quished and driven out of Russia at the
end. Had Mr.. Stransky taken the only
remaining step and fired salvo Of
artillery as Tschaik offsky also pre-
scribed, he would no doubt have still
further increased the enthusiasm of
the audience. He, not Napoleon, was
the hero of the occasion.
Ovation for Stransky
After the symphony the audience
thundered its applause and rose to its
feet with the orchestra, while ushers
piled immense wreaths upon the stage
one from the executive committee of
the Philharmonic Society, one from the
Germanic Switzers. one from the
Musicians Club, others from persons
who could not be identified.
AT the close OF the concert the
tumultuous applause was renewed and
MY Stransky had to make a speech to
quell it. He said that the moment was
the happicst one of his life, that the
ovation was proof of the success of
ms labors with the society and that
ne felt honored in being able to thank
the public for its appreciative support.
a few words altogether justified bv a
demonstration the like of which has
farewell and concert audiences are
generally made Of different stuff than
opera audiences
AT the concert in Aeolian Hall the
Symphony Orchestra played, first a
concerto crosse for strings by Nivald,.
which Siloti had transcribed, supple
menting the viols with wood wind in
struments and the organ The con-
certo in minor, was one Of three
by the Italian composer which Bach
transcribed for organ and which for
number of years was credited to
bach's favorite and most talented son.
William Friedcmann. Siloti's additions
seemed to consist Of little more than
writing out Of the continue for
flutes, oboes, clarlnets, bassoons and
organ. Tho discussion of the me]odic
material was left to the string band
and IN the beautiful slow middle move
mont the additional choir was kept
silent. The arrangement increased the
sorority of the piece, but added moth
lrg to the splendid vital muscularjty
of tho themcs and their workmanship.
Coates Plays Gooseens Novelty
Nj. toatcs's novelty consisted of
-Four toncsits,' as they were called
by the composer, Eugene Gooesens. an
ingenious gentleman who is fallen
under ultra modern Influences so far
a harN onzation and instrumcntation
are concerned. The first conceit con
sisted Of fantastic arabesques in which
oelests and harp tones were fascinst-
ingly commingled and which were
turned into "Gargoylcs." az MIR. Coos
sens called them, by a few measures
Of honest ecclesiastical music near the
close,
Thus was it made obvious to the i'm,
aginative mind that If architecture Is
frozen music. as some 9stheticar has
SAID. music might by the same token
become liquehed arch tee ture--even spe
clNcally gargoyle on church There
WAS another little bt-all the conceits
we're little blts--called Dance Memo
rles, remarkable from the fact that tho
rance haunted our memory in one kew
and another memory in another and
dl1erent one We have heard pianist
play waltz with the bass and treble
parts In different keys. He said if
was to represent what the panoforte