New-York tribune., 1910-10-02
THE PI4NOFORTE.
Continued from second page

march reviewing his works in Groves Die
fjonarv." saws: His single panoforte sonata is
heavy in material and treatment, and cannot be
res koned q fine example Of its kind few or
lis fugitive pieces are agreeable, and the Farla-
tons IL F show that at the time OF their COM
f-osition he must have been interested il the
= attic development, put the world would not be
rnIc1 the poorer for the loss Of all that he has
written for piano solo
BaIakierew's pianof0rte compositions are not
r7any. and when his name is seen on the pro-
s-arnr1e OF q pianoforte recital il is II connec-
ton with his Oriental fantasy "1slamey- The
ma ajority OF the pianoforte pieces OF NlcnoIas
.ndriavicb Rfnsky-k -korsakow C1S44-19oS) are
7ariations one set ending with fuSue on the
familiar subject Bach and one set having
2 foIksong theme The successors Of these
r,ea. the younger composers Of to-day, have
cultivated the field more industriously. though
Como of them have had to depend largely for
their popularity on a single lucky hit like
Iiadow's 1889 Musical Snuf-Box' (''Tabat
ere Musique') and Rachmaninow's QSs3)
shary minor prelude. The latter musician, how
eyer has written three concertos. and is in
C.;aed toward work Of large dimensions. Other
representatives OF the school are Alexandra
Glazounow, 1855, suite on the name
..S-a-s-c-f-a-" etude la Mutt Mazurka (Op-
%. Ne g. Nocturne COP. 80; Nicolai de
Srcherbatchew, 1853, .fFeeries et Pantonimes,
Scherzo capricci0 (Op- 10, '-AIosaTque' (Op 30;
Joseph WIhtol. 1865, variations on q Lettish
theme COP g.; ". Rebikow, 1861 Autumn
Dreams" COP. s.: Alexandra Scriabin, 1871.
sonata (Op g.. Allegro appassionata'' (op- -.
.-Sonata-fantas;e'' COp. 19) and twelve etudes;
I-elix Blumanfeld 1868 etude la Mer," Fan
tastes-etudes' C0p- 90 and Polish suite (ded-
:cated % Pa5erewski); S, Lfapounow. 1859,
.4Ztsaes 5'execution transcendantes" COP. III;
Antony Stemanovich Arensky, 1851. -Esquisses'
C0p. 24). Concerto in F, Caprices COP. 43) and
some interesting experiments II antique metres
called .'Lag0dtes' and 'Peons,"
Except for the works Of 3 small coterie Of men
who are striving to ernancipate French music
from the influence Of Wagner and can think Of
10 way save 70 throw the diatonic system over
board the pianofcrte music Of France to-day
dlsc.3ses 10 special characteristics. The whole
tone scale Of these men Is il no sense national,
and since the movement IS still in an expert
mental stage, i follows that the taste Of French
music lovers IS still represented by the older
composers who combine accepted systems with
the individuality, elegance and grace which dis
tinguish French art il all its phases Chief OF
these composers is Camille Saiot-Saens. born in
1>:5.. who. though he gave his first public con-
cert II 1876 is stiu. after siXty-four years, the
most energetic and enterprising Of French mu-
si-ians. / generation ago Dr.. Won BuIow, de-
se~iDing one Of his feats il prima vista score
reading, called him The greatest musical mind
e the day and for sound learning 1t is doubt
fuI / N. Saint-Saens has found a rival since.
Like the majority Of French composers. he has
written much for the lyric stage. and his operas
preserve national ideals; but his propensity for
travel has taken him 70 many parts OF the earth,
and II his journeys he has gathered elements Of
local color and utilized them in some of his
pi2noforte pieces. such Is Caprice on Rus