The sun., 1901-11-16
JOSEF Hofmann Plays-An Interesting
Orchestral Novelty.

OrCnettFh NoNchS'
The Philharmonic Society gave its FIRST
public rehearsal and also began It's sixtieth
season yesterday afternoon in Carnegie
Hall. Mr.. Emil Paur conducted an interest
ing programme containing one number
too many. The -Euryanthe" overture,
Rubinstein's d minor piano concerto and
Hausegger's symphonic poem would have
been long and well balanced enough with
out the intrusion Of Abert's tawdry tinker
ing with Bach organ and piano music.
When Gounod tethered his sentimental
Pegasus TO Baoh's first piano prelude there
was some excuse the -adapter" was French
and knew no better. But Albert received
soholastic education him II was play
ing with Joyian thunderbots. The Inn
pertinence OF serving up in orchestral garb
the incompatible c sharp minor piano prel-
ude from the -Clavichord,' In company
with a chorale and the great q minor fugue
for organ should be punished by refusing
adrnittance TO this artistic sscrilege on all
well-ordered programmes. To claim Tor
the medley effectiveness is begging the
question; the orchestral repertory ia large
enough and by no means thoroughly ex-
plorpd. Even Llszt In his vrtuoso days
would not have attempted such thing
as this The Weimsr masters piano tran
scription Of the fugie Ia treated In rev.
erent style And then the arrangement IL
stupid Il il neither Bach nor good red
herring
Webers dramatic overture grows no
older with the years. II contains entrahc-
| ing lyric passages which agner knew
very well when he wrote 'Parsital ihe
scene between Euryonths and EGldnhns
as.taa .s,.ln o. IN
| -Parsifal" no cleverlv has the Bayreuth
composer utilized his borrowing. Mr..
| Paurs reading was admirable. lie ea-
toried from his men not only The JupIaht
| sweep Of tho Initial measures Dut also
| an i'm pressivs Jadnissino ia the Eg'onnne
euisrde. Mr Hofinann Was at his very
| best in the cOncerto. He studied the MUSIC
with Rubnstein. SO his interpretation
| was gracious, serene, academic soDei anu
! euphonious Clarity in scales, arpegga'eu
nassa ge- runs ia double notes. the conduc,
of his dynamics variety Of touch aud lohai
| charm were beyond criticism. But 20
Rubin-teln did not play his concerto. Ia"
an, -of-door freedom. imp-tuosity, rch
/ Cauflenl and urslne -torinng are nov
! f,r HoftnAufI, or indeed, for Few pianlsls
/ of this genteel and painstaking senefatioh'
Nnu could not put your finger on any spol
, rf AZ. concerto Yesterday and give uGght
l,tI' uraIs,,, vet II was piano playing wtIi"u.
~, big note. without passion. JOSEF
Uofruaun evidently lacks intensity OF tenn
,,,ra n,eu'. and having Stld this II b@hooNeH
H.. critics TO admire h- many ercelIences
T,a Pulinstein i MINOR barCafoll" lha'
4 =. gsy,. AS a recall pleCt. was faultleehlN
d.,iy.rrd aud like "a painted ship on
uaiuted ocean, ~ the English poet sang
u would ba a wlsss thing iOi ia" director
/ pf thee, concerts 20 copy a liant nom ~"
B,.'ou orchestra .pruiih' eucofr- No
matter how happily they NAV 's"'ih 'o VI
10. the plau they arr n"N"fth"lf-- u"
,.t,y,.tssu' Oi the mood scheme, no lilahlt
ii, 'i,IIui-t should follow a concerto VIII
nu uuHrrpnlAtiu"u huuDeI' INC i"@s''
A. f.r the Hubin-t.in's fourth piano
/ ...,I....rfn there D. uilY one word Go express
r- musical content nae i"r'NN Mh'"h
h. H.-I, fHi biz Own u-e Tie gr"a' hli-aiah
. ,..ti.r dll not faks fhr lluU iu build ull
. -.,tirt nfl-lDal rdihNs Tie vurk con
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/ t.- wIfh handy Any pfrl"no- ~ d"N"i'p
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