New-York tribune., 1910-11-28
music
Mr.. SCharWenka's New Con-
certo.

nothing IN music (outstde OF the churches.
OF course, and church music has never been
more than half-religfous, half-artistic SEN
timentality), Sunday has become a day OF
much, too much. music. BY this II is not
intended abstraotly to say that more music
IS made than the people Of New York ought
to hear and enjoy. but that too frequently
two or moro concerts are given together
which all lovers OF the higher class OF
music ought to hear. but are prevented
by the restrictions OF time and space.
Only q proverbial Hebrew banker IN
Vienna has ever thought that these re-
strictions might be overcome II one were
but a bird, and he was not thinking OF
HenseIt's brilliant pianoforte study. 'Si
jetais oiseau'' either. and had he been
either q musical devotee or a critic he
might eventually have discovered that even
his sinnile would not serve. 1t is some
times possible to hear the interesting feat
ures OF three concerts IN afternoon and
evening, but not often Conductors still
remain absolutely deaf TO the suggestion
that they establish an intelligence ex-
change bureau. and so II happens only too
often that at the same stroke Of the hour
two or more things are going on which
a large element of the audience are only
half hearing, because OF preoccupattOn with
the Offering at the other house or houses.
Yesterday was case in point Did one
want to hear Mr.. Hadleys symphony at
The New Theatre It could only be done by
sacrifice of Mr.. Xaver Scharwenka's new
pianoforte concerto which was played at
the same moment by the composer in Car
negte Hall. Under existing Circumstances it
is not likely that either loss VIII soon be
made up, and so an expression OF disap-
pointment Is entirely in order A fine au-
dience heard and applauded Mr.. Hadley's
composition. fine audience also heard and
applauded Mr.. ScharWenka's concerto
But consideration for the amenities OF
social and artistic existence might have
enabled finer audiences to have heard and
enjoyed both.
We can speak in this place only Of the
new concerto. concerning which and its
something was printed in this
Journal yesterday II was the centre OF
gravity in the second Sunday concert Of
the Philharmonic Society, being preceded
by Rirnsky-Korsakow's "Scheherezade"
(which has often been played more pict-
uresque1y and brilliantly and followed by
Chabrier's scintillant Spanish Rhapsody
also An old acquaintance. but a compost
to Mr. Mahlers love for color and sorority
Mr.. Scharwsnka- though he had conducted
performances OF his work IN Europe when
the solo part was IN the haIls OF another
vfrtuoso, played the music FOR the Hrsc
time. and the concerto had its first per
formance IN America Had q younger
player been at the pianororte the audience
might have missed some OF the authortta-
tiveness which went out from the per
fornance fthough even this was a little
obscured by evidences OF insufficient CO
operation between solo player, conductor
and the band), but IL might also have heard
a b-tIiiancy In the work which was not
fully brought out yesterday. But never
mind that Let Us stop IN the mad on
rush into which the supposed tsndency
OF the times Is trying TO force u TO give
honor due TO musician who u1Anfests
his reverence for old idiorns. not only by
employing them when he feels so inclined,
but also by making them exert their old
charm on every mind that still Is willing
and capable Che terms are by no means
synonymous in this period OF a1ectation)
OF aypreciat1ng beauty in music for It's own
sake Mr.. Schsrwenka goes to the e1-
treme of asking US 70 accept a concerto
as a solo piece with orchestral accompanl-
ment, but he does so only 10 lift into a
higher light both the factors which are
employed and degrading neither. Likewise
he writes piauosorte music for the piano
forte and makes no effort 10 solve any
cosrnic riddles or give expression TO cosntc
sorrows IN his music. His composition Is
addressed TO the Imagination, TO the emo
tions and to q taste for the beaut1ful-and
these faculties Il holds IN an auliable thrall
from beginning to end The highest values
In the new concerto doubtless lie IN the
first movement. and ft may have escaped
notics that II supplies thenatic material
10 the sections which follow; but It IS a
proof OF Mr. Scharwenka's seriousness OF
artistic purpose that, amidst the quaint.
archaic, dainty beauties of his intermezzO
and in the whirl OF his concluding taran-
teIla he was still conscious Of the value OF
the beautiful ideal Of structural unity and
that his technical skill enabled him 10 give
.t interesting expression It is a work full
Of interest and charm from beginning TO
Of g very few novelties in its de-
partnent, of which it can honestly be said
that it's better acquaintance would be ex-
tremely desirable. h z. K
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