New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-11-01
MR.. aIsPHAM's FIRST RECITAL.

Those who uphold a serious musical standard
a thing that, paradoxically enough, It becomes
more and difficult 10 do the means for up
holding such standard increase-ought 10 feel
drawn a bit toward Mr.. David Bispham for plan
ming the series Of song recitAls which he began at
Mendelssohn Hall yesterday afternoon. Seuss ton
aIism is foreign by nature TO such entertainments
so long they remain IN the province OF good art
and so is "fadsu" unless It be attached TO the
personality OF the singer. When artist, there
fore. Ike Mr.. Bispham, who has warm
place in the popular heart utIlizes his popularity
iuculcate and encourage love for the best things
in art instead Of trying increase his popularity
by getting down the taste OF the music hall
which is possessed by the multitude, he Increases
the respect IN which refined amateurs hold him.
He did that yesterday. when he sang Beethoven's
An die rerne Geliebte' and Schumanns "Dchter-
Hebe und Leben,' and. 10 Ill out the afternoon.
called in Miss Marguerite Hall to sing Schumann's
"Frauenlebe und Leben.' Three song cycles a
sitting-a delight the intelligent music lover
rock Of offence the careless seeker after enter
tainment and the mere devotee of the singer
The songs In these cycles-that is most Of them
familiar to all patrons OF song tails; but 1t
needs 4 concert like that yesterday to win
ognitiou for the large artistic purpose which in
spired them in the minds OF the poets and
posers. To this end, Mr.. Bispham's programme
yesterday admirably conceived Beethovens
rs are neglected: those Of Schumann much sung.
Yet when heard in this tuXtapositton. they must
have brought an unusual and lovely message
IN many OF the hundreds who heard them
First Of all. significance in musi-
cal history OF Beethoven ought have been
brought 10 many minds An die ferne Geiebte''
is the first Of all compositions in the serial form
But that fact concerns concertgoers but slightly;
more important for them Is this that in respect OF
artistic purpose of poetic unity still remains the
most perfect OF all song cycles 1t is wonderfully
close knit Its spiritual we'll material bonds
q re obvious Schubert who one Of Beethovens
first followers could not equal him in this. though
he formed an exquisite uteracing for the songs OF
Die sch6ne MulIerin." SChumann nearer
in his ''F'rauenIiebe und Leben.' though he could
not round out his cycle with the naturalness and
poeticaI pathos which marks Beethoven'S work
He appreciates the older composers purpose, and
paid il the tribute Of imitation, but result
constrained The fault lay, OF with the
poet What was logically vocal in Beethoven had
10 become an instrumental appendix in Schunann.
II is helpful 10 note things through the tux
Imposition of public performance.
Mr. Bisphams besetting sins in song singing were
but slightly in evidence yesterday. He in good
voice He threw himself into his work with fine
srdor but not as he has so often done TO the for
getting of the rights Of musical and proper tone
production His incidental changes OF tempo were
sometimes unhappy and textually unJustiaed. but
on the whole he proclaimed the lovely message OF
the songs convincinsly. Miss Hall. with hne tune
fulness and euphony. gave out her tones tamely,
even sluggishly in the songs which tell OF the pas
sionate ecstasy in woman's love-life. but In
respects she was good 10 listen to. There Is more
in the music OF these cycles than MI Harold o.
Smith, who played the accomplishments, has yet
discovered