New-York tribune., 1905-04-12
MUSIC.
Wr. GAIbert's Beethoven Recital.


In Carnegie Hall last night Br. Eugen dAIbert
gave the third. and last. of his rectaIs of piano
forte music IN New-York for this season 1t
was his fifth appearance, for he had presented
himself in a concert in which he was associated
with NJ Ysaye and an orchestra. and had also
taken part IN one Of the concerts designed for
young people and conducted by Mr. Frank Dam
roseh AT every one OF the preceding occasions
music by Beethoven had figured the pro-
gramme; the E fiat concerto and "Kreutzer'
sonata at the first, the C major concerto at
the Young Peoples Symphony, the so-called 'Ap-
passionate sonata at the first recital. the "Wald-
stein" and the two rondos which were part Of
last nights scheme in the second Last nights
cital was devoted wholly TO Beethoven, added to
the two rondos. the Thrty-two Variations on an
Original Theme in minor. and the Sonatas, Op
81 NO. B, in z fiat, Op. 10 in A nat and Op. Ill
in minor. One movement the Scherzo. from the
first OF them. Mr.. dAlbert played in response to a
recall at the first coneert-payed Il with fine
strong. mobile beauty. he also, on that occa-
sion. played the pianoforte part Of the "Kreutzer'
sonata, in which. unfortunately, he was not met
by his distinguished associate.
It need scarcely be said that the sonatas were
the most interesting features Of last nights pro-
gramme. Nobody seems yet to have made the c
minor variations interesting ('repOlshed buttons
OF Mozarts coat Lenz called then) the rondo
in G is little more than pretty tribe compared
with the works which Beethoven vFcs composing
when he published it-a potboiler, 15ubtless-and
the composer did not seem to have thought the
Rondo capriceio worth publishing at all. 1t
was found among his posthumous papers. pub
hshed op. 129 (Which figures have nothing
to do with the date Of its composition). 1t
has held attention chiefly, we fancy, because of
its singular title '"The Rage over Loss Of a
Penny. stormed Out in a Capricco." and interest
in its performance generally runs out into curl
osity TO learn how much Of the suggested record
the player can read into it. In this respect
Dohnanyfs performance is pleasant memory. and
Mr. dAlbert's. at his second recital, one OF mixed
pleasure and disappointment. Last night it sound
ed better. doubtless because the size of the hall
modified the too strenuous accentuation which dis
turbed some Of the enjoyment which the work is
capable OF imparting. and which caused derogatory
comment after the Mendelssohn Hall recital.
Nevertheless, it may be said. as setting standard
for much of Mr. d'Alberts playing last night in
this work, to extent in the c minor variations
and in the last movement Of the first of the sonatas
that all Of the music preceding the two sonatas
with which Beethoven said farewell to the instru-
ment which with the string quarteD he chose for
his final communngs with the muse. is so far
moved from Mozart that IT not lighted up with
his smile when composed. When it was written such
cannon shots as Mr.. d'Albert hurled into the finale
Of the fiat sonata were never thought Of Mr.
d'Albert is considered objective interpreter Of
Beethoven but in such exaggerations of dynamics
and accentuations he is subjective 10 a degree He
reads spirit into the music which not even the
rugged Beethoven would have sanctioned. We can
not deny that under the hands of a player like
dAbert il is interesting Il recalls the precedence Of
Bach. who wrote for the tinkIing quiIled prede-
cessors Of the pianoforte a "Chromatic Fantasia
and Fugue" for which even the modern nstru-
ment with its frame and snews Of rigid steel does
not seem quite adequate but that fact does not af
feet the question OF how the early music Of Bee
thoven ought TO be played
When Mr. d'Albert remembered what was due
TO hmpidity, purity and beauty Of tone his play
ing was ransportingly beautiful last night. it
was stirring and uplifting. extent too i'm
agn4tive in the A nat sonata. He reproduced the
interpretive effect OF its first movement with its
bardic echoes and the reckless gayety OF its
scherzo. But could have wished more senti-
ment in the return to the first mood of brooding
and self-questionngs. as well as in the elegiac
hymn, and the denotement Of action, exhaustion
and the gradual return Of vitality in the final
fugue with its recurrence as an episode Of the
arioso dolente.
Years ago. when DR.. Won Buow played the last
five sonatas at a sitting The Tribune's reviewer
directed attention TO the change touching the
last sonata which has come over critical judgment
within half century. Even the Russian Won
Lenz who wrote large tones in eucidaton of all of
Beethovens compositions. gathering together all
the threads Of their stories. dragging out OF OBJ
livoa the unfayoTable well as favorable opinions
which greeted them at their first performance and
breaking lance for his hero on every possible oc-
casion. frightened by the second movement
the ariieta with variations, which surely mark
one of the loftiest flights ever made even by the
soul Of Beethoven. Won Lenz had associated with
and written about the great panists of his time
and was inclined perhaps. to take a too technical
view Of some things. He could not understand
how twelve notes six semi-quavers and six derni-
semi-qUavers were to be played in a measure SUD-
posed TO contain only the value of the first six and
he did not believe that any pianist could play re
Specially the 1874 demi-semi-quavers in the trip
lets Of the fifth variation Culibschonf. Won Lenzs
countryman. has told how Schin and Balakireff
were in the habit Of playing the sonata and sparing
not single trlplet. putting every Of the 1874
thirty-second notes 20 the sword without mercy
How often have we heard it since. How we
marvelled when even Won Bilow. so often
and unjustly decried a dry-as-dust pedant
played this variation so TO make forget all
about the mechanical difficulties which 1t involves
and lose ourselves in contemplation Of the ex-
quisite exhalation Of melody which rises like in
cense from the triplets which seemed so fearsome
10 the eye Of Won LenZ. And has Paderewsd ever
more completely transhgured his hearers than
when carrying them heavenward the wings of
this arietta? Not pianistic? Why should they be
when they are something much better? When
they transcend all that belongs 10 the material
sway as far as the soul transcends the body-who
thinks OF music "idiomatlc Of the pianoforte''
the court phrase goes when listening to this music
which carries us the soul of Goethe's Faust
Is carried, up TO the meeting place OF
earth and heaven and permits US to hear IN the
language OF transhgured tone the wordless songs
Of the ''Pater ecstaticus" and the blessed boys.
rerife-t- and angels soaring ever upward with the
immortal part of Faust? Alas! Mr.. d'AlbeFt kept
h.s .eet On tnt ground last night throughout this
movement seemingly afraid of being adjudged a
sentiuoeutalfst Here the chiefest occasion for
an exposition Of the ETHEREAL loveIiness Of which
the tone OF the pianoforte Is capable. IN which
feelings and Imagination might have been freed
from Ell letters But with all the beautiful articu
rfh