New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-03-02
Some Beautiful Spots in q
Concert Not Without
Its Drab Side.
SCHERZO A GEM
IN HIS SYMPHONY
Chopin Influence Shown-End.
ing of Second Concerto a
Credit to Composer.
By II. f. KREHBIEL.


II was q pleasant acquaintance which
We made with Mr.. Sigismond Stojowski
as an orchestral conductor at Phil
harmonic concert on February .. We
wish he had left the memory OF the
pleasure which his suite gave US and
the very good opinion which we had
formed OF him as a writer in the larger
forms undisturbed Even more heartily
do we wish that he had contrived 1t SO
that the very good opinion would have
been increased.
Both wishes might easily have been
gratified by the simple expedlent OF
permitting us to hear his music grad
ually and not compelling us to gulp
three large compositions at a single
sitting. Why modern composers who
wish to win popular liking for their
music do such things as Mr.. StoJowsK'
did in Carnegie Hall yesterday after
noon is incomprehensible to all but
to their most cordial
we'll wishers.
II there is strong feeling that
nonotony Is likely to be created by an
Gall Beethoven" or an "All Brahms
or an "All Strauss" programme. what
is to be expected when an audience Is
asked TO listen two hours to music
which. while lighted up by all occa-
sional fash of ingenious or ingenious
beauty, still presents one long, unre
loved procession OF mannerisms In
construction, in melody, in harmony
and in instrumental color? Had we
heard the scherzo of the symphony II
u minor in list or compo-
sitions by other men
would have not only sounded charming
las il did yesterday, but would nave
warmed our hearts with enthusiasm. u
we had heard the theme and variations
which form the conclusion OF Mr.. Sto
iowski's second pianoforte concerto as
mart OF musical scheme contrived to
exhibit a group of contrasts in manner
and mood, we should have left the con
cert room convinced that the composer
was a credit not only to his native Pc
land, but also to the country he ha:
chosen to make his second home.
If, finally, we had not heard Of the
violincello concert at all. but known
of it's existence, we should have re-
joiced in Mr.. Stojowski's wisdom II
sparing US the experience which II
brought, wen though the act would
have deprived us OF the pleasure OF at
tending Mr.. Wlleke's debut with or
chestra. Mr.. Willeke's reputation as ar
artist of the first rank is safe that was
proved by the many recalls when ne
received for his brilliant performance
of an ungraciou5 task; IL was no aug
mented by the accompaniment whlcf
he was called on to play 70 persist
emily loud-lunged band.
But Mr.. Stojowski would have i
otherwise, and so the drab side of his
concert must be presented as well as
its high lights. Mr. Stojowski's Polish
teacher was Zelenski, whose name Is
in exceedingly good reputt IN musical
history. He belonged to the group OF
compo .lrs who rescued Polish music
from the Italian "operatism" which
characterized the school represented
by sucf men as DobrZynski, Nowakow-
ski, Moniusko and Zarzycki, that stood
for native art during two-thirds OF the
nineteenth century.
Zelenski. NOskowski and Paderewski
TO mention three of the men with
whom Mr. StojowsN is associated IN
spirit. kept themselves aloof from the
neo-romantic tendencies OF BerlloZ
List and Wagner, and remained CLASH
cal in spirit. That fact. had striking
i'll .stration in the first movement of
the symphony, not only in the rigid
adherence TO form, but also in its
Mendelssohnian orchestration.
The thematic material of the moment
would however, have been much more
effective in freer treatment when
would not have made so much OF the
music sound like bald reiteration and
called up psuggestions of academic ex-
ercises. 1t seemed to cry out for a
motto, not the one suggested in the pro
gramme notes ("To be or not TO De
but one equally Shakespearian, Much
ado about nothing" go,
The second movement flowed on with
some beauty and much plac!dity, ana
then came the really delightful scherzo
"A piece in which the Mendelssohnian
influence was felt. and yet was original
in thought and expression. Here the
instruments of the orchestra romped
and danced like
Fairy elves,
Whose midnight revels by forest SIDE
Or fountain some belated peasant
sees"
The same happy relief from the
music which preceded 1t was iound
again in the sportive section OF the
pianoforte concerto, where the agree
able impression made was continued TO
the end by the variations, some OF
which seemed to indicate that Mr'
StoiowsM was true son of CHOPIN
because of his admirable use OF dance
rhythms. The principal theme OF the
finale of the symphony, a really me
and uplifting melody, well CALCULATED
10 reflect the proud spirit Of POLAND
had there been anything national IN
the composition). aroused high hopes T;
hut thew were dashed to the ground
by the labored and conventional music
making Of the development portion.
The Zilenski school has been sue
ceeded Gin time. at leasD by some
Young men - Karlowicz, Fitelberg'
Szymanowski and others-who are fol,
lowing in the footsteps OF strauss ana
Roger. Il would be a pity II Mr..
Stoiowski were to seek TO JOIN them;
hut n greater pity if he were not now
10 essay to put some of the new ma
tional shirt in his next composition
Mr. Stoiowski had the help, besides
Mr., Willeke, OF the orchestra OF the
Philharmonic Society and its conduc-
tor. Mr.. Stransky.