The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1892-05-30
MUSIN CONCERT.
Farewell Performance at the
Opera House.

opera House.
Those who were present at the
farewell concert given by 81. Musin
and his company on Saturday even
ing will not easily allow the memory
of the music to fade. 1t was a won
derf1l programme, faultlessly rend-
cred, not merely faultlessly, however,
but brilliantly. Without question
the artists excelled themselves, and
surpassed everything they had hith-
erto accomplished in Honolulu. We
think NJ. Musin has reason to feel
pleased with the reception accorded
to him by the musical portion of
Honolulu society. The actual num-
Der of concert-goers is certainly much
smaller than most people would
imagine, nevertheless on four even
ings in rapid succession has the an
nouncement of a concert drawn to-
gether large audiences, each time
more enthusiastic than before. This
is the most eloquent tribute to the
three gifted artists, and, be it said, a
credit to Honolulu.
The Kreutzer Sonata battles de-
scription. The exquisite melody of
the subject excites emotions that
may not be crudely expressed. The
appealing notes seem to coDjure up
every sweet recollection of the years
gone by. There is an exquisite sug-
gestion of earnestness in the en-
phasis of the opening notes, and
Beethoven must surely have poured
his whole soul into the pathos Of the
second number.
AS rule variations are abomina-
tions, mere contortion and disfigure.
ment; but, as Sganarelle says, ''il y
fagots ct fagots," and when Mozart
or Beethoven undertake the work OF
variations, the result is different. For
instance in the Kreutzer Sonata,
each successive change is not the
| forcible wrenching of beautiful
melody into some strange and IN
natural shape, but like the variety OF
tints in the rose, most natural, most
beautiful alternatives 10 the presen-
tation of the same exquisite subject
Can anyone forget the effect OF
those repeated single notes, the high
G, played on the violin in the second
variation, while the piano sustains
the theme? They always sound to
me like the passionate appeal OF
some loving soul in agony-perhaps
the agony of separation.
No wonder the remark was made
at the conclusion of the concert, Il
would go to hear that Kreutzer So
nata if it took my last dollar to pay
for ticketw
The finale seems to be intended as
a remedy for the emotion of the FIRST
part. Yet, every now and then the
music pauses in its sparkle, and a
few bars of exquisite loveliness are
played, first on the violin, then on
the piano, but before they are quite
completed a thunder note on the
piano sends the two instruments
madly again, rejoicing, rolicking,
giggling, bursting into laughter,
until one begins to realize what the
power of music is.
If Messrs. Scharf and Musin had
played nothing but the Kreutzer
they would have done exceedingly
we'll, but they played much more
and whatever they have played they
have Herewith filled us with delight.
We owe them a debt of gratitude for
their wonderful performances.
Mdme. Musin was in her very
best form and must have found some
difficulty in carrying away the floral
tributes she received.
"Carmine perpetus celebrare, ct
Undique decerptam 'front.' praeponere
olivam."
She is certainly a most gifted and
accomplished singer. We must now
conclude our remarks. We sincerely
wish our visitors every success in
their travels, and perhaps someday
that we may see them again and lis.
ten to the enchanting strains they
know 80 we'll how to awaken.
PALLIDA MORs.