The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1908-11-17
\ 4 \ = \ i \ x 4 x X X

legato movements from a Beethoven
sonata or one of the precise and law
abiding fugues of Bach. To relieve the
program from the tempestuous and err
ratio music of Magyars and gypsy folk,
the audience heard Raft S Cavatina and
Schumann s Traumerei, both classics
but with decided modern tinge. No
more beautiful golden tone has been
heard at any concert in Hilo than that
which came from the well played Cava-
tina. From the frog to the point of
his bow, the player drew a volume of
sensuous sound which fairly saturated
the air of the room. The playing of
Traumerei and the d 'Ambrosio Is Can
zonetta were somewhat overshadowed
by the beauties of the Cavatina
The Canzonetta was first heard here
at Miss Klumpke's concert some months
ago and the analytical ones were
anxious to make comparisons. The
piece is a love song. Miss Klumpke
SduS IL Win al TIC ICANOA anu lultu-
sity of the lover who is sure his pas
sion is undying, and who must tell it
because his heart is so full that it
overflows. It was serious throughout
and eloquent in its pleading. Mr..
Buehly told the story of lover more
eapricious and a little given to co.
quetry; one who wins but not by the
power of the all compelling emotion
so much as by finesse and coy dizziness.
Those who like to compare have ample
opportunity in the playing of Wianiaw-
ski Legende, for the work was first
performed in Hilo by Gordohn. then by
Mrs. Moses, then by Miss Klumpke and
last by Mr.. Buchly. These players are
by birth Russian, American, German
and English, respectively. The piece
is a story from out the olden time and
each told it differently. Mr.. Buchly
certainly told it as an old English
legend with staid characters with beau
tiful flowing melody and satisfactory
end.
The big numbers of the evening were
worth all the years which were taken
to train the artist s flying fingers and
his supple bow arm. Vieuxtemp's
Polonaise should have found first place
on the program for it puts the listener
upon his metal and makes him forget
the days work which he left outside
of the concert hall. We are familiar
with it from the beautiful record made
by Maud Powell. The Mus1n Mazurka
de Concert was the piece which de-
manded all the strength and agility
which the performer could bring with
him on to the stage. In the allegro
vivace movement the left hand does
the double duty of stopping strings and
playing pizzicato at the same time,
while the right hand, not having time
to know what marvels the left is at,
plucks viciously at more pizzicato and
throws in some bowling for good meas
ure. 1t was a perfect cascade of spark
ing uUbCS udSHluS lIOlu luC NIulln I1h6
a shower of spray from the rocks be-
meath a waterfall. In this Mr. Buchly
was at his best The technical diff
culties of the piece had no terrors for
him and he pushed them aside eagerly
as if he felt real joy to get at the music
of the great Divide Musin and offer it
to his grateful audience.
Brahms Hungarian Dance is often
heard arranged for the piano when it
is sometimes played more slowly and
without caprice. Remenyi borrowed
the piece from the folk songs of the
Magyars and Brahms stole it from him.
At his concerts Remenyi always played
this dance at a more rapid tempo than
it was heard here and with absolute
abandon The last piece which Re-
menyi ever played was this same darce,
for in his next piece, his violin and
bow dropped from his lifeless fingers
and the San Francisco audience, which
came to hear his wonderful music saw
his soul wing its flight into eternity.
The Wieniawski Romance was some
what marred by the lack of ensemble
work between the sOloist and his ac-
eompanist. a defect which another re-
hearsal would doubtless have removed.
Mr.. James Dougherty placed both
Mr.. Buehly and the audience in his
debt by offering two delightful songs
and responding to his generous applause
with two encores. The rendering of
Guy 'Hardelot 5 Because was the
best. probably for the reason that it
was the best selection unsteady and
required a higher order of interpreta.
tion from the SINGER
Mr.. Buchly was delighted with his
reception. but it could not bring him to
break the continuity of his carefully
arranged F-ogram with encores. After
the last number the patronesses and
| their friends remained to discuss with
him the pleasures of the evening. Mr..