New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1905-04-06
MUSIC.
Yesterdays Concerts.

CSCCIOdyS CONCERTS.
There were several musical affairs yesterday
which took Importance in the private mind ac-
corning to the manner of its constitution. Three
s,l 70 be Of public interest. and Of the
lures tnat proved to be of least value which had
Oeeh most loudly proclaimed. Its object. kept
concealed from the public press. worthy
enoush-lt was to provide money for the education
Vi SOuhs musicians in foreign countries. Therefore
he stage OF Carnegie Hall was profusely decorated
with flags in the evening and their effect upon
the eyes OF the audience was doubtless supposed
70 make amends for the failure to keep the prom
Ises OF the announcements 1t to be a great
AIlcWeiL 10 Mr.. fsaye. All of the procamations
MI 1saye's concerts this season must have been
humiliation to so sovereign an artist as they
were humiliation OF the art TO which he is de-
Voteo. But yesterdays use of his name was
hOlhlhs snort of an abuse The fine piece of cham
Der music in which he was to participate was not
gwen Ihere was a miscellaneous concert in which
ne played as he generally does-masterfuly. author
I'diVe'' compellngly. in spite of his faults-and
numerous audience was delighted with him as II
was with the playing of his associates chief of
whom We're Senior da Motta the Portuguese pian
ISL and Mr.. Hekking. the violoncelist But the
al us'Ic VaIue OF the affair had been lowered bv
the manner OF its announcement and need not
concern further ~
mere was nothing deplorable about the nano-
- ieota OF MT Ernest Schelling at MendeIssohn
al III the afternoon except the arrangement Of
'iie programme, which made the first contnuous
sitting WEAKNESS to the flesh tn say, no+h,~ 80
the spirit One had to be personal adnoirer ~; +b
performer or fanatical devotee of pianoforte
o u siI win muscles. nerves and senses all
tense while this newcomer-extremelv vvelcorna
iousn ne oe-played one of LISTS transcriptons of
six Preludes and Fugues which Bach connosed for
tI'e organ ut was the one in A-ninor) Schumann's
FANTASIA in C-major. and Beethoven's so-caIled
APi"SSionata sonata without a moment for rest
Inc grouping of the pieces suggested NJ PadereVsxi
anu 50 uio much In the performance Of them In
thls there was nothing surprising however since
MI Scheinng Is a pupil Of the Polish master and
mas won d welcome entrance into local concert
rooms largely on that account He played the
HIeluue ana FugueS with beautiful clarity and
with perfect appreciation of LISTS purposa in
4H"AIhe the transcription. which was to show
wat Ooulu De done with ten fingers upon a
pidhoLorte keyboard in the way of reproduc-
ing Inc music which Bach had composed for
an entirely different instrument with two
keyboards and a pedal In the Schumann Fantasia
the influence Of Paderewski seemed to obtrude
ltselI' out never unpleasantly-for when Mr. Pade-
IewSh is IN mood for Schumann, pure and sane
ana simple ne always makes him greater delight
than chopin Mr.. Seedlings reading of the varia-
lions of the Beethoven Sonata was also clear and
governed by an appreciation of their structural as
Well as spiritual beauty But there was much
liat was questionable in his treatment Of the first
ana last movements. Afterward came some Chopin
pieces Cwhy enumerate them? IA Rarcarolle b,,
H'uDlhsteln and theme and variations by the con-
ceFt-glver- What impressions they made beyond
generally agreeable ones need not be recorded
IN the same nall in the evening Wesley View
man gave a pianoforte recital whose most lasting
impression OLD concert-goers is likely TO he the
notice distributed with the programme asking in
dulgence for the artist the ground of ndisposi-
ton. Heretofore such proceeding has been mo-
nopohzed by singers. but there does not seem to
be any reason why pianist should not also ask
recognition Of the fact that he knows that he is
not in finest feather. although that fact will not
necessarily put his instrument of tune. Mr.
Weyman began his programme unconventonalIy
with Capriccio by Bach. ION the Departure of a
Beloved Brother, which is frequently cited as the
earliest example Of programme music, though it is
antedated by a thousand years. or less. 1t
is unique, however and ought be studied because
Of its elevation Of the spiritual above the material
in delineation- Mr. Weyman, who played it (as
he did everything with fine appreciation Of its
melodlc values. might have made this point clear
er to his hearers had he brought the char
acteristic Of its embellishments, especially in the
first movement. In music Of this kind the old
agreements are more significant than is popularity
thought There might also have been larger infu-
sion of sentiment in the lanentabe third movement
in which Bach used a reiterated bass figure from
his ''Weinen. Klagen.' which also figures in his
mass in minor. But to discuss these things
would carry the recorder too far busy day. Mr.
Weyman pleased a gentle audience. and called
on for more at the end.