Morning journal and courier. [volume] (New Haven [Conn.]) 1848-1894, 1885-03-03
TO-NIGHT'S CONCERT.


Beethoven Concerto For Piano And
Orchestra And Carl Baermann.
Tonight the last of the series of concerts
under the auspices of the New Haven Con
cert association will teke place ct Carll's OPP
era House. Among the selections the pro-
grarnme contains Beethoven's concerto fo1
piano and orchestra in fiat, No. 5. The
piano bears a striking resemblance to the or
chestra, icing able in measure to produce
the grand results of the latter, namely melo-
dy and harmony, but is deficient in not be-
ing able to prolong sounds like the violin,
flute, oboe, clarionet, horns and trumpet,
which instruments possess this quality to an
unlimited degree. 1t seems unreasonable,
therefore, to bring the piano into close
competition with such powerful combina-
ton as the orchestra, and still more so to let
it assume predominance over the same and
thus clothe it with the garb of hero.
Concertes for the piano and orchestra were
written already by Bach. The piano then
was very limited in its tone power and the
orchestra consisted chiefly of strings
Mozart enlarged the sphere of the piano con-
certo with orchestra, composing works of
symphonic form. His concertos bear the i'm
print of great geniality and originality and
even sensuality, and their poetical tendency
points to the outer world In Beethovens
works we can perceive deeper thought, and
the outer world is merely used as stepping
stone to the spiritual. His poetical thoughts
srs more distinctly expressed, and sometimes
even lean to the humorous. The E flat
certo is his greatest work of that kind and Is
called 'The Emperor" It is symphony
for the piano and orchestra and its move
ments are powerful and broad In the first
allegro the pianoforte enters the arena in Or
The impetuosity of the movement is aston
ishing; there is no limit to it. The forte
fortissino of the orchestra lasts only during
one chord and then is silenced, leaving full
sway to the piano; in fact, the orchestra is
silsnced until it is permitted to- repeat the
chief motif with the strings. After
a long prelude by the orchestra
the piano, after dashing through a
chromatic SCALE attacks the motif again in
soft chords, passing through brilliant -evolu-
tions and beautiful arabesque. The orches-
ira plays secondary part until the Tutti is
r08Cl6C. 1u0u 6u0 COIItDdt 10 dSdliA 1CLiOW oA
and the piano finally comes out victorious
amidst the full blast of the horns and the
crash of the whole orchestra.
The next movement, Adagio un POGO
Motto, is a melody of great beauty and
serenity. 1t is in striking contrast to
the fierce contest of the preceding movement,
expressing human repose after undergoing
ok hausting labor and portraying mans nature
in communion with q higher being. The
strings breathe forth a melody of simple
but great beauty resembling prayer The
piano then takes up the theme in triplets in
a melodic form, requiring great skill on the
part of the performer, as this part demands
trast with the furore exhibited during the
movement. Beethoven's peculiar
rhythm is especially noticeable in this part.
Amidst the lower tones of the horns the
Rondo Allegro ma non Troppo begins, invlt-
ing, as it were, the now rested gladiator to leave
he arena and come forth in the balmy air and
sunshine It's tones call him to the green
fields where young maidens are twining
nreaths to crown the conqueror. Tho sound
IF the merry dance gladdens all hearts.
Freedom equality, love and friendship reign |
,upreme We behold our hero engage in |
lance with unbounded joy. While the piano |
s, so to speak, whirling through the |
nerry chorus of the peasants. This giddy |
lance of the piano only ceases in order to |
rive vent to q love song amidst the low G of |
he horns. Then the dance begins again and |
ven more rapidly than before and continues |
Until the orchestra becomes quiet and the |
weary dancer receives his only support from
he kettle drums Exhausted nature is ex-
PRESSED by the Ritardando and measure
f Adagio An Allegro of seven measures for
be piano follows and then the orchestra fin
shes this grand work.
The execution of the masterpiece requires
n the part of the pianist all the essential
ualities of an artist, namely, unlimited
echnique great force, precision, a thorough
Of the peculiar rhythm of Bee
hoyen,s music, perfect knowledge of the
se of the pedal, the artsof phrasing, Gghtness
f toueh, legato playing, and, to crown all,
uch an artistic feeling as to enable the
LAYER to render it In a true musical style
vorthy of the great Beethoven. It requires
borrower repose, dignity and love for the
imposition itself.
The reputation of Mr.. Carl BHrmann is
uch that we can rest assured that in render
~ this difficult concerto he will meet all
nese requirements He has enraptured crit
al audiences in New York, Brooklyn, Phil
ielphia and Boston by his artistic play4isg
i fact, by his coming here New Haven is
iphly fisttered, being accepted link in |
le chain Of these music loving cities, in i
hich true art is thoroughly appreciated.
mr. thanks are also due to the managers of
lis series of concerts for offering us an OPP
,rt1nity to hear Mr.. hermann in the E fiat
Beethoven. nj. STEINERT
I