The times., 1898-04-24

ers with her first air and held it through
out the second by dint of her pretty ap-
pearance unaffected demeanor and taste
full playing.
Just as painting numbers artists who
are supremely great, because OF their
love of color in and for itself, so music
possesses players whose love of beautiful
tone is their guiding impulse SIR Ed
ward Droop, who accompanied Miss
Lucas is an example of this type. He
is not always calculating the effect OF
his work upon his hearers, for. in spi-e
of his great popularity, it IS almost i'm
possible 10 persuade him TO play in pub
lie. Yet each reappearance brings the
surprise of q new artistic departure,
which however, sacrifices no familiar
charm. The exquisite grace and deli
cate beauty of This young artists play
ing is always a revelation of what tone
means, and places him among the col
orists as emphatically as if he had riv-
aled Zeim's Venetian Scenes.
Prof. Bischof gave his final concert at
the Congrega .ionaI Church last Wednes-
day at s D. m. If the truth must be
told the hit of the evening was made
not by Mrs. Shir-CHf. even with Foote's
feeling Irish Folk Song nor with the
chorus showing the way Nevin makes
the imagination play around Eugene
Fields
Twas all so pretty sail, it seemed
As If il could not be:
And some folks thought rwas dream they
dreamed
OF sailing that beautiful sea
but with the piano Chopin and Mosz-
kowsld pieces Of Mrs. Mamie Maurice
| Burdette. She is an Illustration of an
! interesting difference. Musicians sep
| arate instrumentalists-a indeed all art
4 workers may be divided, poets, authors.
/ etc.-into two broad classes. those who
| work by feeling, and those who work by
| conscious intellectual effort. The artistic
| productions OF these classes are easily
recognized as different not in degree but
/ in kind The first are said TO be ''subjec-
| live" the second objective" Thus the
/ critic and the virtuoso are, If only such,
/ objective, while the rhapsodist, the color
! ist the composer, the idealist are, TO
! the extent of such character, subjective
! Perhaps the impressionist occupies a
middle ground.
! Mrs. Burdette appears to be not the
/ Liszt but the Won BuIow of Washington.
/ She Is not a hapsOdist-reproducin
| classic art-forms with the enthusiasm
| that often carries one past Interpretation
! into Improvisation. OF Liszts genius, the
! tendency to improvise was most marked.
| Hitler, who disliked him, said that List
/ played best when reading at sight be-
/ cause If he went through a piece q second
/ time he altered il TO suit himself. The
| pupils who play Liszt's own music as he
| did do so by memory, for he seldom kept
to the text he furnished the public The
| inspiration of the occasion provoked
many of the Hungarians finest utter
ances. But such artistic freedom is the
! rarest condition of a modern pi tnlst.
The initial impulse of an artist like Bu-
low. on the other hand. is frankly an
aIytic He clamors for truth and fidelity
to subject-matter as loudly as Ruskin-
! He scorns to consider the result of his
music upon the audience he despises. He
/ enters literature as tractarian. not as a
composer. Even as pianist he avowedly
neither creates nor cOmpOses his music
al picture. He is a critic of musical lit
/ eraJure who embodies his opinion in
musical form. Bulow, the greatest, clear
est-sighted critic of German music that
we possess presents exactly the same
traits which we are accustomed 10 seek
/ in critics of belles-lettres. And with Mrs.
Burdette at the piano We had the same
insight. the discrimination, the caustiC
wit, the cool dissection of the subject and
the fervent opinion thereon.
The Sunday Night Music Club met Apri
II at Mrs. Julius Ulke's and played tn,
first Beethoven Symphony, the Marcia
Adagio. Menuetto, Scherzo. Polacco
Andante. with its variations. Allegro
and the final Marcio, from the same com
posers op. S; the Swedish Wedding
March. by Soderman; with two move
ments of the sixteenth Mozart piano con
certo, Miss Elsa Ulke and string ac
compartment. Twelve members were
present-three first violins. three secont
violins, two violas, two cellos and thre
pianos.
GEORGE F. ORMSBY.