New-York tribune., 1910-09-11


promptus'' and "Momens musicals" which AZ.
the most perfect of that composers pianoforse
uttcrances. "Schubert's greatest achievement.
says Dr. Bic, was the Momens musicals'
which appeared in 1923, the year Of his death
The first Of these is naturalistic, free musical
expatiation; the second. gentle movement in
A fiat major; the third. the well known F minor
dance-in which dance became penetrating
and sorrow laden tongue; the fourth. the Bach
like sharp minor Moderate. with its placid
middle section in D fiat major; the fifth, fan
tastic march with SHARPLY cut rhythm and the
sixth, perhaps Schubert's most profound piano.
forte piece, that revery in still chords which
only once are more violently shaken in order to
lul US to sleep with its pensive and dainty sor-
row. its delicate connections. it's singing imicz-
tlons, It's magic enharmonics and its sweet mel
odies rising like flowers from the soft grounds
The close Of the trio In the style of popular
chorale, with its harnonization in thirds is like
many of his harmonic passages in octav.s or
sixths) exceedingly Characteristic OF the popuh,
nature of Schubert's music.
One who loved Schubert ardentIy in whom
the romantic spirit burst into unparalleled e.
dorescence. and who represents it with nor,
varied eloquence than any Of his contemp poraries
or all of them combined was Robert schunanp
OSLO 1866. What he did to develop the e.
pressive power of the pianoforte is all his own"
says Richard A1drich Gin The Musical Guide"
edited by Rupert Hughes "Ee wrote for the
instrument in a new way, calling for and
elaborate advances in technique-not the brill
liant finger dexte-ity Of Chopin and Liszt but
deeper underlying potency Of expression
through interlacing parts. skifulIy disposed
harmonies. the inner voices of chords and
through new demands to variety Of ton.
quality, contrasts OF color and the enrichment.
of the whole through pedal effects Il has been
called grabbed style, but it is 10 less lido
matte of the piano than the open and brill
iant manner that developed at the same
period by the virtuoso school of piano playing
and composition" Schumann's music is admir-
able that OF Beethoven's is because OF its
excellence music irrespective of the Vehicle
chosen for its exposition Yet. like Beethoven
he put a greater eloquence into the tones Of
the instrument than did the virtuosi who called
forth the critical wrath of his Davidites or
even Chopin, whose unique genius he so gen
erously praised. He was the IDEAL represents.
tive Of romanticism in every one of its as
poets. He turned the fantasies and the whin-
sicalities Of E. T. A Hoffman and Jean Paul
Friedrich Richter into instrumental song. and
wove their parti-colored threads into his poly
phony. He remains, after half century. tn.
gramme music; proclaimins not things but the
moods and essences OF things, applying titles
which do not weight the fancy, but lift il
into a buoyant atmosphere, removing all fet-
ters OF soul and mind, pointing the way in al
directions except those which lead TO the realm
OF the isnoble and the ugly. The most PET
fectly enancipated of all the tone poets after
Beethoven, the one in whom intellect and the
emotions We're most equably poised, and
priest in the Temple of the Beautiful who held
his duty sacred To her who became his wife
Schunlann wrote: Everything touches ne
that gees on in the world-politics literature
people. think after my own fashion OF every
thing that can express itself through music or
can escape by means of it, This is why many
Of my compositions are hard to understand
because they are bound up with my remote
associations and often very much so, because
everything of Importance in the time takes hold