New-York tribune., 1912-01-09
MUSIC
Archaic Chamber Music.

ArChdIC CndInDer MUSIC.
Outside OF the Opera House yesterday
there were many echoes of eighteenth CEN
tury musc-in a so-caled university con-
cert by Arthur Whiting and some as
sociates at Rumford Hall in the afternoon.
and at a concert of chamber music by the
Flonzaley Quartet in Carnegie Lyceum In
the evening Mr. Writings concerts as
has been recorded i'm this journal. have
for their educational purpose an awaken
ing OF interest In the music from the
music room or salon OF the latter part OF
the seventeenth and early part Of the
eighteenth centuries. For this reason they
are as interesting as they are delightful,
and Il is a pleasant thought that they may
also be symptom, long ago commented
on here. of a revival OF taste for ideals
from which music has widely departed.
Mr. Whiting uses old instruments and also
old music, and produces II with great
beauty, but there were moments yesterday
when the question of authenticity obtfuded
itself rather unpleasantly upon the minds
of musical students. IL the purpose of
these most admirable concerts is 10 ac-
quaint the public with music as 1t was and
centuries ago. ought 1t not to be pre-
sented in what in commercial parlance Is
called the Original package? II not,
ought not Mr.. Whiting instruct his audi
ences as to the changes. Were not some
of the pieces by Couperin and Rameau
which were played yesterday as ensemble
pieces for flute, viola da gambia and
harpschord written for the harpslchord
alone, and at least one of those played as
a harpsichord solo written for a company
OF Instruments? The question is put with
the tmidity with which mere newspaper
reviewer ought always to approach pro-
fessional musician OF Mr. Writings learn
ing and all that; but may II not he put
when It raises no question touching the
effectiveness of the lovely mission which
Mr. Whiting is accomplishing through his
concerts?
Let one instance be cited Among the
dainty old songs which Mrs. Edith Chap
man Goold sang to a harpsichord accom-
paniment played by Mr.. Whiting vas one
beginning Belle qui items ma vie" which
the programme ascribed to an unknown
author" and dated A. ID. 1900. Now. this is
an Did dance-a pavan, which history tells
us was danced at the French court on the
memorable occasion when ambassadors
came from Poland to offer the Polish crown
to the Duke OF Anjou, afterward Henry
III Of France. The incident must have
taken place about 1873. The melody of the
old pavan may nave been three-quarters
OF a year old at the time, but it was GER
talnly not sung as solo with such an
instrumental accompaniment az Mr.. Whit
a old knn
form is as a vocal piece for four voices.
with a drum 0ambourin) to emphasize the
rhythm for the dancers AS such II is
printed In the famous treatise on the dance
known as Tabourors ''Orchesographe" In
1889 Wekerlin, Us librarian OF the Paris
Conscrvcrtoire, published an arrange
mcnt OF II for orchestra. which was per-
formed In Mcndelssohn Hall some years
ago at one OF the concerts OF old music
given by Mr. Sam FrankO. But these Gu
rious Questionings, has been said did
not interfere with the enjoyment OF the old
music which Sir. Whiting presented SO
gracefully and graciously yesterday after
noon 10 a small but keenly appreciatve
audience. Mr.. Barrere and Mr. <efer were
also his helpers, the former on the flute,
the latter on the viol da gambia.
The archaic music on the programme OF
the Flonzaley Quartet was a sonata tor two
violins and violonc,llo by'W. Friedemann
Bach. tho talented scapegrace son of the
great Leipslc cantor A manuscript copy OF
the work ls said TO have been found quite
by accident" In the library OF Mr.. 6. X.
Weston, in Boston. There is nothing par
ticularly surprising In that fact Collectors
OF old manuscripts are few who do not own
"A manuscript or two by eighteenth century
composers OF note. Composers were less
eager to get into print at that time. and
publishers were rare birds Music was
handed down In manuscript. The interest
ing feature In the case Is that the music,
especially its first and last movements,
proved so delightfully."- fresh and melodious.
The middle movement showed decided
tendency toward the style which came In
with Beethoven, but was far less interest
Ing than the others. Ii served a purpose.
however, I'm showing that all progress IN
art is gradual. and that even the most for
ward genius leans on those who were be
for. him. The other numbers on the pro-
grammc were Beethoven's quartet In
major, Op. IS. No. .. and Dvoraks Quar-
tct In a nat Op. l05. h. h. h'