The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1898-06-14
AusENExT<.
a Peerless Trio.

y SBaanst9 audience opposed Of fashion
allies. re esfy's distinguished men ard wa-
men and the plain dsgo.ees Of the art d.
wire. sf.tsti almost every seat IN the build
i;.z and paid homage 10 the three ,nuzi-
cans. They freely gave such tributes Of
admiration ard even alteration which we're
refused even TO MeIba, great as was he
trsGmpn OF the Australian prirna donna.
Inc concert will bold rank as the greatest
triumph IN musical way ever Won by
visiting artists.
Seattle has heard Ondrcek, Musin. Wit
heimJ and others who have attained erst-
Ferce as virfaeSos CT the violin. Isave
VIII - given a higher place In the esteem
~ those who seard him sast night taan
airy OF the others. Gerardy's triumph was
70 less signal. While I-achaurre earned the
admiration cf every fnusle-Ioyer in tf1e
house rs performing The drudgery incident
10 rendering the piano accofnpa nimepts ~
tne solos in tfis programme and then IN
terprsting 10 the style q the true artist a
Chopin SneSzo and the familiar Majourks
by GODDARD.
From tie IN iiai number on tie pro-
Efamnls. the Audience Was en- rapport with
the performers. This was due primarily
TO .Ae wonderful ensemble playing in the
;rla n r pajor b. Schumann. " Itch came
tirs. On the programme. Nothing approach
ing &, Il was generally conceded. was
ever heard IN Seattle. The impression pro-
duced was profound and fra,n the last
uots in the finale OF the trio, fhe audience
was eager "a find means OF expressing
the complete conquest which the three art
lists had made.
Following is the programme rendered
iast might:
Trio in F major--I. Allegro Animate.
ii. Andsnte Expressive. Ill. Mod
erato Scherzanda. ". Finale Non
Ff pasha Drne Ysaye and aeras SsaD"'a
If. Jean Uerardy.
Fourth CONCERTO. d minor introd DUO
ioso.' III. Finale Con Brio. ...-....
........ OBSERVATION-DISCLOSURES. Nieaxtemps
NJ. Eugene Y.aye,
f&H&TZJ -+-tss... ~s+.-..s... 1HOpiii
NJ Aime 1achaume.
90 Ai!a - .-.'-...-...-.'s.''-.-'..; hacn
q, TaFFen'el,s Yasn ,;er.,y,iy fopper
Ia hoeudled ..,.... ......,..... Schumann
tSl Zleguner wei@en ...........-.,.. Sarcastic
NJ Engene ysaye.
Finale from TIE ttTSt Trio 49,. R8biDstein
Laehaumc. Y&lye and Gerardy
The amatsur who would attempt 20 de-
scribe isaye's playing on the violin would
have recnalse to every technical EXPIRED
slon supplemented by frequent use OF ali
the superlatiye adiectives Ia the dlctlon-
AIRY. Nothing short Of The sn?efiative
should be applied to Ysaye. His magnih-
Gems poise is perhaps his most remark
able attribute, after his technical power.
Nsaye is always the artist Ills deep
scholarship was ssnasly apparent in the
Trio which led on an evening OF rare en-
toymen;. Yssye's individuality was In evil
d.nce ali through the number. He was
the maestro" his associates devoted fol-
lowers In the path a.: which his genius
shed refulgeat light. This was partcu-
iariy irus in The second movement IAN
dante Exgressvop, in which the composer
has sounded almost every human emotion.
This move :nent was an exquisite tone poem
FIJI Itself aA Interpreted by Ysaye, Gerardy
and isachgume. The instruments were In
perfect unison the musical te,npsrsments
OF ihe artists in harmonious accord In this
move msnl. II was rarely beautiful, and al
it's conclusion the audience expressed It's
rapture In the most enthusiastic fashion.
The Moderate which followed was SOM
Ter In effect. bat none the less artistic
though. perhaps. more colby classical.
The finale was a ycrltabIe riot OF melody
iseSe'S unappruachahle supe riority I'm
dsciamat tory effects was per ;ifully IN eyi.
deuce in the Eieuxtemps number This is
4 piece designed 10 Cxhibi: the technical
equipment % the performer more than his
emotional power aud range. In Ysayos
hands ihe violin is made 70 give exrre ssion
20 every possible form o. tore co.or The
mos striking quality apparent In this
number WIS the artists technique and his
thorough ana complete command of his In
sIsEment. Il has been said ihat the violin
II the most wonderful Of all Instruments
! Us capacity for expression is no: surpa.s-
! ell by the human voice ana 4 Is q sufficient
tribute 81 fsaye's genius 20 say that he
reaches he uttermost limits Of the. instru-
taent. Ills tone Is marvclous'y sweet. par
, tirulariy IN ;he piano passages: Il Is wen
drrf'uy r'ch and powerful ir The forte
; pasS1Ee~ and n the ca&enxsS both tone
ard eNscailon are those II The master.
!, = perhaps remarkable. tnt Ysave's
personality was most apparent last night
~ she concerted numbers There was
on" possible exception and rs was in
the eSuutSteiy sweet Ahena'!e,i' tSchtg-
maanl wNth came near the end az the
/ latter haH Of the programme f'urpiing
! h'l's. golden sunsets ne deep olliel
b"luty of pastoral scese. all ,aeSe ara
tod as II r. words n the ''AhenAi,ea." rs
Played by Ysaye. II the ''2,eRuue~-
i wt!sea' tSsraSa;sA the technical equfn-
I nent II ~" V'r'uosI was again called
) INTO play. snd ftef 4 most Rogshef exeea,A
ton 81 the difficulties Wth wnich ;he
piece abouots Ysave's d"n.h - fee,tae
Ms capacity ~ touching tss tsTde rest
emotions on h.e instrument were brought
5 ono" more into delightful play. rs they
we're En- ms "Ab.adi'e3"
/ GevsrAy's saccess vas alrrcS, eogal 20
th7t ~ tie v5o'ln.St TIE va4nc ,eslitst
: possesses Technique = - uheroys,,.,,, =!
Mind. Although suffering f~on, severe
headache. the young axis, easily aroused
BIS aai raCe - the highest pf',,n Of en-
3 thns aSH}- Again ana aes,s ~, VAS -.
called and a. he responded % ire re-
aea'sf demands 'er Hso-e the audience ~
: elted is tsvar gn showers - sppsttss
Z lis vecepftoa was worthy that - a "a
/ NOUS prjrra Donna Cifrasdy AaS taste
s fsaCs7Fal emotion and peise rs weii az
+ ss'taF. gue tbs vas evident in he