New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-03-25

MR.. FRIEDHEIMS PIANOFORTE CON
CERTO-NOTES AND PROGRAMMES.

MR. FRIEDHEiArS PIANOFORTE CON
CERTO-NOTES AND PROGRAMMES.
The concert which MIR. Arthur Friedheim VIII
give at the Music Hall next Tuesday evening prom
ises to be one of the most interesting and enjoy
able musical affairs Of the season. 1t is notable
not only for it's dimensions. and the INSTITUTION
which Is to benefit financially by ii. but also LOT
the character of the programme and the DISCLOSURE
which II will make Of the artistic character anu
capacity of the concert giver. Mr.. Fri3dheim IS
known here chiefly a pianist. but he Is more
than that He Is a conductor and composer, ana
In both these departments he will make disclosures
next Tuesday which unless all the promises OF the
rehearsals are belied will win for him from the
public large need Of admiration as ne alreauy
enjoys from the musicians who know him. lie Is
a modern of the moderns. and the whole scheme OF
his concert looks to the presentation of modern
principles in a convincing way. lie Will cohduc'
Lists Faust" symphony, which no one mas Vent
ured TO bring out here within the last oecade'
and waeners "Kaisermarsch" He Will play a
pianoforte concerto of his own, and Lszts con-
certo in f fat Mr. Damrosch in these numbers
taking his place at the conductors stand. The
orchestra will number over eighty men, Mr.. RleSer
and n choir of men singers will assist in the SYM
phony and the march, and there VIII he as oriii-
liant an exposition Of the Lisztian concept of music
as can well be imagined The Actors luhd WHICH
is to be the beneficiary of the affair has never APP
pealed 10 the public with more praiseworthy en-
tertanment or which paid greater compl-
ment the real artistic devotion OF this community
The concert is under the management OF A. NJ
Palmer Daniel Frohman, Frank Sanger ana the
other officers of the Actors Fund.
The conviction expressed above concerning the
measure Of Mr.. Fredheims merits as conductor
and composer is based observation at a re-
bearssl and knowledge of his concerto. This work.
which Is in the key of b fiat. and is composed
throughout the lines pointed out by Liszt ana
exploited IN his instrumental compositions
was composed by Mr.. Friedhem in the fall of $780,
when he was living IN London ON November 80,
only a few weeks before he came to New-Nork, ne
nerformed il at Il concert in Carlsruh under the
direction of Felix Mottl. Since then 1t has not
been heard, being still in manuscript 1T Is dedi-
Gated to Charles y. Tretbar, of this city, ana de-
serves to be down one of the most interesting
and effective works Of its kind that the disciples OF
List have produced Those who are familiar with
the theories and methods of List will not need
to be told that the classical conception of con-
certo is set aside in Mr.. Fredheim's work. In II
advantage is taken to the full of the great sorority
of the modern pianoforte, with its frame OF steel
and its wonderful capacity for endurance ana the
vast variety of effects which the changed instru-
iment and the changed methods OF manipulation
have made possible yet the piano1orte is dehieu
the old ashioned domination over the bahd OF
which II is become integral part. The melodies
empoved in the work are invented not for the sake
Of the solo instrument, but because OF their capa-
bilities in the way of symphonic development That
the dguration with which they Gecked out Is
the most dazzling that could be suggested by the
scntllant effects which have come in with the
modern schoo' follows matter of course. In
form, the concerto leans the Lisztian symphonic
poem The contrasting moods Of the conventional
model are preserved but the movements are not
distinctive formally in respect OF contents Inc
work is in one piece. but 10 the discriminating
listener something like the old divisions Will he
discovered though seemingly with an introduc-
ton and final coda of unusual dimensions The
themes, though associated each with one or the
other of the broad moods of the composition. are
developed with great freedom without regard 10
their original environment. There are two chet
subjects (Nos. / and ", below but some OF the
subsidiary themes are treated at great length, ana
at times monopoze the attention of the SOLO IN
strument and band almost to the forgetting OF the
fundamental material. In the following outline
only few broad indications of the melodc ma
teral and it's treatment aimed at
After twelve measures Of introduction, in which
the orchestra plays with march figure OF merry
character (Which recurs later in the movement put
IS not that shown in example u, the pianoforte an
nounces Its presence and the style which 1t has
adopted for it's proclamation with cadenza or
coruscatng passage-work ending on a Lsztan chord
trn Then the full orchestra presents the principal
subject of the work a broad march, of a triumphaI
character: