The sun., 1909-11-29
NEW MUSIC BY A RUSSIAN
NOTHING REVOLUTIONARY IN
WORK BIZ RACHM.tNINOFF

Played BY the Composer With the
New York symphony Orchestra, sue
ceeds Because Of Its Real sincerity.
The latest European composer to en-
trust to an American conductor and
orchestra the launching Of an important
musical work upon the uncertain tides
Of public appreciation is Sergei Rach-
maninoif. This Russian visitor chose
yesterday afternoons concert Of the New
York Symphony Society. under Walter
Damrosch's direction, for the initial per-
formance OF his third concerto for piano
forte, and he played the solo part him
self.
The large audience at the New Theatre.
which had already listened to Mozart's
Jupiter" symphony. and was afterward
to hear two shorter pieces Of orchestral
music. received the concerto with atten-
ton and when it was finished there was
hearty applause. which persisted until
the composer had come forward half
dozen times to bow his thanks and graft
fication. Perhaps some auditors wanted
TO hear Mr.. Rachmaninoff play his popu-
lar prelude in c sharp minor. but he did
not do SO. 1t was evident. however. that
after making allowance for the ingrati-
ating influence of the composers per-
sonality there was genuine interest in
this new music.
Perhaps the chief factor in this interest
was the obvious sincerity and expressive
ness Of what Mr.. Rachmaninoff had to
say in the score. The concerto was too
long and il lacked rhythmic and har-
monic contrast between the two themes
of the first movement and between this
opening allegro and the second move
ment, which the composer has called an
intermezzzo. But in spite Of these con-
ditions and of the absence OF digital dis
play for its own sake. which usually wins
easy and not very valuable applause,
there was an influential quality in the
work. Its opening theme. in ID minor.
is tinged with melancholy Of the sort
typical in late years Of a good deal Of
Russian music. This is the melancholy
Of inactivity. of what may be resignation
or submission or distrust of ones own
powers, and it does not rise. as did
Tschaikowsky's. to the pitch Of surging
passion or high tragedy.
Russia's present day composers have
been charged before now with failing to
reflect in their music the depth Of the
national feeling under the stress OF
recurrent periods Of political and social
unrest. Rachma ninof has been looked
to among the younger men as hkeliest
after Glazounoff TO attain a broad ma
tionalism OF idea and expression. He
has not done so in this concerto unless the
outside world is laboring under a delu-
- - =. I, Aua
avoided. on the other hand. the artificial
gayeties OF officialdom despite his recent
elevation to an important post in the
musical department Of what is equivalent
in St. Petersburg to a national bureau OF
the fine arts.
Z The new concerto then may be taken
as a purely personal utterance OF the
composer. and il has at times the char
acter of an impromptu. so unstudied and
informal is its musical speech and so
prone TOO TO repetition. Rachmaninof
writes in modern orchestral language and
he has been Influenced. naturally enough.
by Tschaikowsky. but he is not an ex-
tremist His themes are clearly marked
and are based upon harmonic progress
sions that have been generally accepted.
The ID minor melodic idea. to which
reference has been made. is subjected to
intelligible development. and so is the
very Russian second theme. In this
first movement there is a long passage
for pianoforte alone, interrupted fe-
licitously by a phrase sung successfully
by flute, oboe and horn, which gives
rhythmic variety and one OF the. few op-
portunities for brilliant fingerwork. The
intermezzo is sketchy and IL leads with
out pause to the finale, which is brisk
allegro ending with a truly vigorous
rush that strikes a note OF breadth and
power.
The same mood Of honesty and sim
plicity and the single pursuit Of musical
beauty, without desire to baffie or aston
ish dominated Mr.. Rachmaninoff's play
ing OF his new concerto. The pianists
touch had the loving quality that holds
something Of the creative and his execu-
ton was sufficiently facile to meet his
self-imposed test. Sound. reasonable
music this, though not a great or memor;
able proclamation. Mr.. Damrosch and
the orchestra played from the manuscript
score, and their task. which was not too
easy. was performed with zeal.
The Mozart symphony. which opened
the programme, was played with clean
cut precision and its scale Of tonal values
was well chosen. Unfamiliar was the
-Arlequin." by Edouard I.alo. and a good
example Of its decorative kind Chabrier's
<Akar6he Joyeuse." bravely played. COM
pleted the afternoons doings.
1t is pleasant to record the marked i'm
provement Of the acoustic conditions,
produced by boxing in the stage with
tight walls and a ceiling. which sent the
tone out into the auditorium instead OF
allowing il to be lost in the flies.