The San Francisco call., 1908-11-30
HARTMANN SHOWS
V|RTUOSO'S ABILITY
VioIinist Depressed by Small
Audience Due to Stopage of
Streetcar Traffic
Calzin's Work at Piano Better
Than Usually Performed by
Accompanies
By Walter Anthony

Ask Will L. Greenbaum if he thinks
that life is really worth living. He
surely has fallen on days of difficulty.
You remember how many times the
Blanche Arral concert was postponed
on account of that fine singers illness?
Last week you will recall the fact that
Miss Adela Verne did not play mid
week recital because she was indis-
posed and felt she would not do herself
Justice. Yesterday afternoon Green
baum had an artist-indeed. he had two
of them-at Christian Science hall, and
then the power was turned off from
the street cars and for hours the only
way to get to the concert room was by
walking.
To drag in a personal note, trudged
from Ninth avenue-but then I had to
go. Others merely postponed the pleas
ure of hearing Arthur Hartmann play
until such time as Mr.. Calhoun and his
cars were in a more agreeable mood
than yesterday found them.
Thus the audience was small and, no
doubt. more or less depressing to the
nervous yiolinist who had a right to
expect a more sizable greeting. But
Manager Greenbaum consoles himself
with the thought that those who were
there yesterday afternoon heard some
splendid violin music and some piano
numbers which were hardly less en-
joyable.
HARTMANN'S ART RIPENS.
Hartmann's art is in a 'ripening
process. He has impetuosity, exuber-
ance of feeling and technic. lie is like
Kreissler in this-he makes his violin
sing. Even in the formal Bach prelude
l. Y,1aI0dir rd MT 81
melodic. It takes courage to play a
Rach fugue for violin. 1t takes a born
vortuoso to make it sing for modern
ears at it sang once upon time in
Bach's.
Hartmann accomplished the difficult
task yesterday Indeed he has a COM
mand over his bow and his left hand
which makes difficulties which in less
experienced hands would be insur-
mountable, seem light and trivial. Oc-
casionally when the frog of his bow
is near the vibrating strings his tone
is harsh and overenthusiastic. 1t is the
noisy spirit of youth asserting itself,
and a good fault, however. for he does
not fail to get the thrill out Of the
climax of his vigorous phrases.
PLAYING OF A yIRTUOSO
Instead of playing the more familiar
Bruch concerto in G minor he played
the Saint -Saens concerto in 3 minor. Its
opening measures on the G string were
rounded into fine ful1ness and the first
movement proclaimed Hartmann a born
yirtuoso The second movement with a
fragile motive of much Gallo sweet
ness was even better. It's tenderness
was delightfully."- given by Hartmann.
Ending in harmonics, this section was
accomplished with f1uency and an ex-
quisite touch. The final movement of
the concerto was a joint triumph for
the violinist and his accompanist, AL
fred Calzin. 1t was appreciatively en-
cored.
Hartmann's Interpretation of the G
minor prelude and fugue by Bach was
keenly accurate and sympathetically
musical. He clothed the ancient form
in garments of modernity. L have not
heard 1t better played except by Ysaye
and Kreissier.
MACDOwELL's SONG PLAYED
A group of inconsequential trif1es
was next played by the violinist, who
brought a loving spirit to the Mac
Dowell Grade Song" which the player
Transcribed for violin. 1t was a shade
too lightly played. probably because
Hartmann was unfamiliar with the ac-
coustics of the hall in which he ap-
peared. The best part of the Arthur
Nevin number, "Une Pensee," which
followed, was the dedication. 1t is in
scribed to Arthur Hartmann, but is
otherwise commonplace. The third
number In the cluster was a rhapsodie
by Hartmann. 1t is primarily violin
music written to catch unwary fiddlers
and drive them back to the conserva-
tory for more lessons. 1t is difficult
with left hand springs and touchy with
contrived difficulties, though not par
ticularly vigorous musically.
| Wieniawskfs Faust" fantasie ended
the program. Hartmann's playing of it
was brilliant and certain.
Calzins best numbers were the last
three he played, particularly the List
Rhapsody No. Is. His style is notable
for a bravura spirit which at times
renders his rhythms uncertain or in
secure. His touch Is elastic and pleas
| ing. his pedal work intelligently har-
monious and his technic far beyond
that usually displayed by an accom-
panist.
DENNED MADpT Z NxynDLEnc