The sun. [volume] (New York [N.Y.]) 1833-1916, 1898-01-08
PHILHARMONIC CONCERT.
Marteau Heard Again to A~dvantase-The sleE.
fried IdyL.

Rarteau Heard Again to AdvautaGe-The sieE'
fried IdyL
The third public rehearsal and concert of the
Philharmonic Society are moro than usually
interesting. The first performance yesterday
afternoon was the occasion Of the temperance
in this country after an absence of three years
of Mons. Henri Marteau, who has been re
membered during that time as an artist
whose great charm was but the promise of still
grander achievements in the future. Marteau't
most admirable playing shows that those proph
ecies are now fulfilled. He has grown in menta.
and in physical stature, until he is on q
level with tho highest among violon vIrtuosos
His individuality Is marked. brilliancy
precision. and a manly vigor characteriz
ing every phrase. His style Is broad. his
movements energetic, yet quito uncon'
strained. In every note he asserts his
complete mastery over his instrument, and,
while he is absolutely free from every at.
fectation and from all t~rickery. he displays
in the most remarkable degree q sensitive
appreciation of all the infinite demands
Of aesthetic Gnesse as we'll as n keen
intellectual cognizance of tho Utmost meaning
of the work he interprets. The first was shown
in that remarkable delicacy with which he rem.
dered his encore, a Spanish dance by Sarasate.
composer was plainly visible from his handling
OF Dvorak's clever and snowy concerto in A
a miao largo gpaS It It. is st Of great t 6e"ut stand end SOUNDS
o as though mHn,a # were e, REDUCED Ss u esn by csn a fo viz,
the lightest and gentlest sounds also. To mako
a brief now that Marteau has attained
his first maturity in his art, he must be admitted
named among the very few who. like wieniaw-
SKI. Ysaye, or Sarcastic, have been beyond any
criticism that was mot wholly praise; -,
notice as Marteau's return was tho mi
tial performance Of siegfried Wagner,s sym.
land. and is nov. about 80 year.; old. iii:
h fa.h most se samirsS e s5s saye pioe Sy hitting sha asls sns ef
Architect arch 'u but fthHs music stS''f in his blood ID
List on one side of lis ancestry and
Wagner on the other were a strong team
seems regularly to have adopted. In 1896 he was
one Of the conductors at the Bayre9th festival;
and In the same year scr he composed POS "SShusIcht,n
duced both In London and in Leipsic. but has
never been heard in this country until yester-
same standard that must SO frequently be used
nowadays. We mean that one which classities
in. inso w Sn aggregation SSe sa%p,s shs mS Sominat sSdnpFbs y
Wagner's thought and methods. Wagner has
said everything that is mentioned in %sehn:
father's works are paTsded In SiegfrIed
S %%Sd'f motive sy%"PffSH eh eo PSs%e a sli@p.e 'e of
fitting. Taikyries.. and anon the "WaihalIa
motive" fimsily disguised. At the end, those
chords that finish the postludo to Elisa.
6eth's Prayer" in Tannhauser are pres
But withal S%iegfried Wagner's composition Is
out. at times most ingeniously 80, and there are
one or two themes not borrowed from his great
progenitor that, are charming. Those WIN are
familiar with LISTS peculiarities can often
detect, as one would n resemblance in features,
the style and manner of Sicgfried's grandfather.
The music poem. for the reason Of its reminis-
composition. Mr.. Seidl was Siegfried WaRner's
first musical preceptor, and following him came
Engelbert Humperdinck of "Haensel und
Gretel" fame.
The concert closed with Brahms's lovely Sec
ond symphony, which Is 80 lucid and suaye in
many portions that it seems surely ns though it
were MendelssOhn's voice that spoke.
The symphony and all else ent with a perfec-
ton OF smoothness seldom heard even from the
accomplished Philharmonic orchestra. This con-
cert WAS quite an execution In point OF excellence,
and in nothing did their efforts shine out to
better advantage than in the accomplishments
to Marteau's numbers.