Books › Musical Courier 1913-12-10: Vol 67 Iss 24, 1913 › scan 53
Scan 53
Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
60 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 54. See the scan on archive.org.
1BOSTON SYMPHONY ORCHESTRA
2PAYS NEW YORK SECOND VISIT.
4Mahler's Elongated Fifth Symphony Performed Without Cuts on Thursday Evening—Fritz Kreisler the Assisting Soloist at New York and Brooklyn Concerts—Classical Program Brings Joy to Saturday Matinee Patrons.
6Gustav Mahler's fifth symphony, with which the Thursday evening concert of December 4 began and continued for an hour and twenty minutes without any cuts, is not likely to supplant another well known fifth symphony. And yet this same Mahler symphony in C sharp minor is a wonderful work. What is most lacks is Mahler. It has many vivid suggestions, not to say imitations, of Tschaikowsky, particularly the E minor symphony. Then there are a number of passages where a soprano theme is worked against a contrasting baritone theme very much in the manner of Berlioz, who also knew how to write orchestral counterpoint without sacrificing the least clearness.
8Architecturally speaking, the Mahler work is composite. It has mixtures of scholastic and romantic styles. Some of it might have been written in 1813 and other parts of it belong to any date between 1813 and 1913. But there is not a passage in the entire symphony which, if quoted, could be called Mahler in style.
10And it is precisely that absence of an individual distinction which must forever prevent Mahler's compositions from ranking with the great works. Tschaikowsky, Brahms, Grieg, Chopin, Mendelssohn and many others, have certain personal traits which make their compositions recognizable at once without a program. Apart from this one great serious failing there are few if any flaws in the masterly symphony Dr. Karl Muck presented in Carnegie Hall, New York, last Thursday evening. There are no secrets for Gustav Mahler in the art of musical composition. He had an unlimited command of every orchestral effect, his harmonies are often ultra modern and always rich, and he had a master mind of constructive ability.
12The applause which his work received, however, was distinctly reserved and half hearted, notwithstanding the perfection of the performance of the work by the orchestra.
14The really genuine and spontaneous applause of the evening was given to Fritz Kreisler for his compelling interpretation of Tschaikowsky's violin concerto. There was no mistaking the hearty unanimity of that outburst. Whether in the most dainty trills and arabesques, the most perilous harmonies, the most awkward double stoppings, or the most powerful sweeps of the bow, Kreisler was immaculate and unsurpassable. His supreme moments, nevertheless, were in his poignant and intensely emotional passages of sustained melody. Surely the violin was never turned to so musical an account before, or, at any rate, it never was played in a more effectually musical manner. Kreisler's art soars above the limitations of technic into an empyrean where he sings, like the skylark, "with unpremeditated art."
16The unusual program of two numbers is given herewith: Symphony in C sharp minor—Mahler Concerto for violin—Tschaikowsky
18The Boston Symphony Orchestra concert on Saturday afternoon, with Fritz Kreisler as soloist, was an excellent artistic offering. The orchestra numbers consisted of the Haydn symphony No. 6, which was beautifully interpreted in a strictly classical manner, and was evidently very much to the taste of the audience, as Haydn, it may be added, generally is.
20Following this was the Handel concerto for strings and wind in F major. The edition used was that of Gustave F. Kogel, and those who know Mr. Kogel's skill and efficiency as an arranger and his long practical experience as a conductor, will realize that this edition is the best possible. The soloists in this work were Messrs. Witek, Longy, Mueller, Wendler, and Jaennicke, and it was beautifully given. It is a pleasure to hear such works as this, and Dr. Muck is to be congratulated on this selection. Following this, the orchestra played Mozart's overture to the "Magic Flute," upon the performance of which no especial comment is necessary.
22Mr. Kreisler's offering was the Beethoven's concerto, and this immortal work was played with the same truth and wealth that Kreisler always displays in it. He is a rare master of the classical school and possesses an understanding of the intentions of those older composers which is certainly beyond criticism. It may be added that his tone was particularly large and effective in this work of Beethoven. He could not be induced to give an encore.
24With Fritz Kreisler as the assisting artist, the Boston Symphony Orchestra gave its second concert of the season, in Brooklyn, at the Academy of Music, on Friday evening, December 5.
26The program consisted of three numbers and was just long enough to satisfy, but not fatigue, the large and enthusiastic audience.
28"La Tragédie de Salomé," the first number, is typical of the ultra modern ideas of orchestration and of Florent Schmitt's individual conception of those ideas. Complex in rhythmic structure, heavily scored, and of daring, weird and often rather unpleasant harmonies, it is indeed no light task for players and conductor. Dr. Muck's command of the great orchestra was seemingly almost hypnotic, and not once could Schmitt's threatening discords mar the unity and coherence of his interpretation.
30After a Schmitt number with its harsh chromatic harmonies and its spirit of revolt against beauty, it was a pleasing transition to the sheer beauty of Tschaikowsky's violin concerto and Fritz Kreisler at his best. One seldom hears such artistic perfection as the rendering of those last few measures in the finale—simple, complete, poignantly beautifully, the whole orchestra dying away with the muted violin.
32Dvorák's "Husitska" overture was the third and last number. This was a second contrast and again a pleasing one, and rounded out as well selected and finely rendered a program as the music lover could wish to hear. This was the complete program in Brooklyn:
34La Tragédie de Salomé………………………………….Florent Schmitt
35Concerto in D minor, for violin……………………………Tschakowsky
36Overture, Husitska…………………………………………..Dvorák
38Philharmonic Concerts This Week.
40On Thursday evening and Friday afternoon of this week, in Carnegie Hall, the Philharmonic Society of New York will give its regular pair of concerts, and will have the assistance of Beatrice Harrison, cellist, who has had success in concert tours abroad and who comes to America this season for the first time. Two Beethoven numbers open the program—the "Fidelio" overture and the eighth symphony. Miss Harrison will play the D'Albert concerto in C major, for cello and orchestra, and the other numbers programmed are the Dukas scherzo, the "Sorcerer's Apprentice" and the Liszt "Spanish Rhapsody," orchestrated by Anton Seidl.
42Next Sunday afternoon, December 14, at the Brooklyn Academy of Music, the Philharmonic Society will give its second concert of the season. Individual work of several of the principal players of the orchestra will form a feature. The interesting program arranged by Conductor Stransky is as follows:
44Overture, Le Roi d'Ys………………………………………Lalo
45Dreams………………………………………………………..Wagner
46Prize Song from Die Meistersinger………………………..Wagner-Wilhelmj
47Adagio………………………………………………………..Bargiel
48Rondo………………………………………………………..Dvorák
49Caprice sur des airs Danais et Russes…………………..Saint-Saëns
50(For flute, oboe, clarinet and piano.)
51A. Fayer, flute; F. de Angelis, oboe; H. L. LeRoy, clarinet;
52Renee Florigny, piano.
53Symphony No. 4, op. 36…………………………………….Tschakowsky one of two readings
54Symphony No. 4, op. 36………………………………….Tschakowsky one of two readings
56"I understand that the young man in the house next to you is a finished cornetist?"
58"Oh, is he? I was just screwing up my courage to finish him myself! Who did it?"—New York World. one of two readings
59"Oh, is he? I was just screwing up my courage to finish him myself! Who did it."—New York World. one of two readings
The computer misreads some letters and numbers. Where a name matters to you, read the scan.