The Washington herald., 1906-12-11
sAINT-SAENs RECITAL.
French Composer and Pianist PIeases
Large Audience.

III AsNHEE anu AAsAhAHh
"a Large Audience.
Through the enterprise Of Miss Mary
A. Cryder, of this city. NJ. Camille Saint
Saens, the distinguished French composer
and pianist, was heard in a recital Of his
own compositions at the Columbia Thea
ter yesterday afternoon. by a large and
appreciative audience. The assisting
artists were NJ. Leon Rennay. barytone,
and NJ. Eduard Dethier violinlst,
So much discussion was aroused by
the former appearance in this city of
Saint-Saens with the Boston Symphony
Orchestra. as to his relative merits as
virtuoso and musician, that the followers
Of the modern school Of French music
of which Saint-Saens Is the acknowledged
bulwark-regarded yesterdays perform
ance as a test programme Of the artists
claim to pre-eminence.
In the musical world this great com
poser is without a contemporary rival
Because he departed from accepted paths
Of composition. Paris-the city Of his
birth-was slow to acclaim his genius,
But the French people rarely make or
for Germany 10 accomplish this
In SaiEt-Saens Is recognized a remark
able combination of musical talent, a
master OF composition, Of artistic elabor-
alton Of form, Of unique originality: a
performer equally at home at the organ
and the piano. and whose technique, in
strumentation, and musical Interpretation
leave little to be desired In the way OF
dignity. clarity Of tone, and brilliant ex-
ecution. We are accustomed to think
Of Saiut-Saens as a creative genius. as
an incompatible conductor of his own
compositions. but here is a man arrived
at the Biblical age Of threescore and ten
who retains his facile skill OF technique,
though he no longer possesses the per
sOual magnetism which distinguished his
younger days.
In yesterdays programme the poetry
Of Saint-Saens' inspiration was realized
by the audience in the selections for
voice and viclin. In the numbers played
10y the composer himself there was plenty
Of fire, If little Of the sentiment. Of what
Is commonly associated with Saint-Saens'
creative genius.
In his first number, caprice on the bal
itL airs AAVLl4 JAA-h = dAlAtoNNE s-A-
artist took one breath Of inspiration, and
it was sufficient TO carry him through the
entire selection. The tempo was never
for one instant relaxed. It was an acCu-
rate and brilliant performance. but It
lacked color and warmth Of feeling.
Saint-Saens knew his theme thoroughly,
and accomplished il with fine precision,
cutting of phrases Of the stately music
with unquestiOned skill. The staccatO
passages and the harp and fute-lke ef-
fects were eXcellently rendered. but the
music reflects GlUCk rather than Saint
Saens. and GlUck music is sufficient
unto itself.
The second number. "Rhapsodie d'Au-
vergIe. was less mechanically rendered,
and fn IL an even greater skill Of eXecu-
ton was apparent. His final number on
me programme brought out the only show
OF feeling apparent in Saint-Saens' per-
Torrance. More sympathy and express
sion were conveyed in the rendering OF
the transcription from the fourth act OF
Henry VIII than in the two previous
numbers. On the whole. Saint-Saeus
created the impression that the perform
ance is all that remains of a great muSi-
cal executant. The applause awarded him
was more Of q tribute 10 the place the
man occupies in the musical world than 10
what he actually rendered through his
musical interpretations yesterday. In ap-
plauding him, the beautiful, haunting
with which n Eduard Dethier opened the
programme, fingered in the memory.
This Dethier was delightful he played
with the freedom. breadth, and abandon
ment Of the real artist. There was a
freshness and vigor about his methods Of
attack and his final rounding of the mu-
steal phrases that suggested the brilliant
performance of the young artists teacher
Ysaye. NJ. Dethier captivated the
audience at once. and the concerto s.
self, melOdiOusly tender and possessed in
places OF the same sort Of fascination
that pervades the Wagner fire music. is
one Of Satnt-Saens' happiest compositions
The scores Of violin and piano are de-
lightfClly blended and NJ. CASTOR Dethier
rendered the latter in q highly artistic
and acceptable manner.
The second violin number, the Rondo
Capriccioso, was a delicious moroccan.
and was played with n charm and esprit
that elected vigorous applause. The
audience would have enjoyed more OF
this young artists work.
VI. Leon Rennays barytone voice was
heard in a group of Hahn's songs-"Quand
je fus pris au pavilion" and "Lheure ex-
guisite'-and in Saint Saens' la CIoche''
and 'Reverie,' both Well-known and we'll
loved selections NJ. Reruay's voice is
exQuisitely adapted for recitative work
and themes Of sentiment II is beauti-
fully modulated and pure in tone and
timbre. Only Wien forced to heavy
work, and in the CresCendO passages. does
Il appear inadequate. As a medium of
poetic expression, it is well fitted TO ex-
actly the sort of song into which Saint
Saens pours the ebullitlons of his soui-a
song like the "Reverie" NJ Rennay's
snunciation and the feeling manifested I'm
expression and phrasing were thorough
ly appreciated by his hearers. His ac-
compartments were played by NJ. Franz
Muhlbauer.
Whether it was a tribute to the indi-
viduaI or the general excellence of the
programme was not made apparent in
the enthusiastic applause OF the audi
enCe. Saint-Saens was repeatedly re-
called to the stage. and at The conclusion
of his first selection a magnificent laurel
wreath tied with crimson ribbon was
presented to the veteran musician. 1t
was, presumably. the gift of the French
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