New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-05-31

Polonaises Top Is No. and 20 No y; the I'm
promptu IL A fat; Fantasia Impromptu c sharp
minor: the third Ballade; Second Scherzo; BeT-
in D fat and Funeral March from the Son
alta op 80 No ?. To Mr.. Huneker Chopin is the
greatest of all composers for the pianoforte
When he speaks il is the speech Of one for whom
this wood, wire, iron and ivory is human harp
harp from which the most exquisite, sombre.
tragic poetry is pucked.' There is only one right
way TO play Chopin, in Mr.. Huneker's opinion
Plastic entirely dreamlike in its loneliness his
,l5eI he Vs1oe5 b1t never taken b2 ,SsaIllIf The
g e i,TereCt in i etr1,r1i1 80, ~ ;Is ~
meal guTatiOn. sets il apart. ConseCrated thing
To attack Chopin with huTly fingers or sledge-
hammer wrists is TO destroy the aroma Of his
measures As poet he ranks with Shelley in the
lofiness Of his lyric flights; and he is twain with
Keats IN the richness of his harmonic cOlOring, in
the deep hued humanity Of his melodlc utteranees
Mr.. spanuth's selection from Lists works is de-
Cidedlv unconventional. He has drawn from the
'Annees de PeeriHaEe'' and the 'Harnoncs
Poetiques ct Roligieuse," well as the transcen-
dental and other studies. The musical editing Is
very careful and elaborate. MI Spanuth. Ike Nj
Huneker. has something TO say about the selec-
tons. and ends his preface with some pertinent
advice as to the proper manner 81 playing LISTS
music He advises liberal and elastic tempo. but
warns against reckless rubato. A certain free
dom and impulsiveucss in the employment of DIV
mamie lights. shades and accents may also he rec
commended in order to obtain the Impression of n
free improvisation"
Mr. Apthorp prefaces his biographical and crit
zeal chapter Franz and his songs with "A bibli-
ography which viii strike students as "a valuable
feature He destroys the story which used to have
credence that the. composer whose fathers name
was Knauth. appropriated the Christian names e
the greatest two song composers. Robert SchG-
mann and Franz Schubert in order 70 draw stter-
ton TO himself q rival 10 those giants in their
field. The father adopted the name Of Franz prob
ably before the composer was born. M Aprho-p
who has long been a close student and ardent ed
mirer Of Franz, calls attention TO the Interesting
fact that he always had mezzo-eoqrsno voice in
mind when composing his songs. We did not how
ever object 70 having his songs sung by men
though he strongly resented al trans3ositiors He
could never be got 70 sanction change of key
Mr. Apthorp objects 70 excessive striving after
emotional expression in Franz's songs.
No DOUBT II is true in one sense that Franz
be sung with 10 speak. too comprehensive OK
expressing more than the composer himself has
e1preSsed N LIS mel4ay let him st his forth
the accompaniment by encroachnE upo0 lis do
main, and including in his expression that which
should fall solely 10 its share Above ali e- him
with all intensity Of feeling and suhtlety Of OK
that ''rnodesry Of nature which Franz never over
stepped.
Nj F1nck's amazing estimate Of the comparative
merit OF the song composers Of the world was dis
cussed in this journal when his book on the sub
Ject published by the Scrihrers appeared Some
90 his notions color this collection. and may be
guessed from the representation which he gives
the different composers Il IS not a perfect cri-
terion, however, Mr.. Finck himself intimates
when he says that America. represented by one Of
MacDowells songs. would have had Rrger repre-
sentation had not copyright difficulties interfered
However. here Is the list: Mozart. one: Beethoven
one; Schubert, eight. Chopin. two; Schumann
four List. three; Wagner. ore. Franz. six; Cor
nelius, one; Rubinstein. two; Brahms three; Jen-
three. Ischal
Aassenet- one; Grieg, SIX; GODDARD. one. Pader-
ewski, one; MacDowell, one; Richard Strauss one
The latest sccessions to the Conried Metropolitan
Opera Company are Selma Kronold. Josephine ia
CODY, Josephine Schaffer. Elsa Harris Lillian