Honolulu star-bulletin. [volume] (Honolulu [Oahu, Hawaii]) 1912-2010, 1916-04-25

Honolulu's steady growth in musical
ability on the one hand and apprecia-
ton on the other vas emphasized last
night by a recital OF unusual interest
and decided merit at the home of Mr..
and Mrs c. Montague Cooke, il, in
Manoa Valley.
The recital did not introduce any
musicians new to local audience,
though the chief OF them is compare.
tive newcomer what it did do was
to display two distinctly Honolulu art
lists to deserved advantage, evidencing
their steady growth alcng musical
lines, and to afford the third an OPP
pcrtunity to confirm the previous i'm
pressions of capability which local
critics had received. @..--" ...: r..
Mr.. Frank Moss, pianist, was the
comparative newcomer to whom OPP
portunity was thus given. Mrs. Alex
ander G. NJ. Robertson, soprano, and
Mr.. Rudolf Buchly, yiolinist, were the
Honolulans whose development is be-
ing watched with satisfaction by their
friends and by all those of musical in
clinations who rejoice when talent re-
ceives training and inspiration here.
The recital, given in the spacious
music room of "Kuaiii,' Mr.. and Mrs.
Cookies beautiful valley home, was at.
tended by more than hundred So
ciety and musical folk. Their expecta-
lions were not disappointed. While
the prpgram,was not an extended one,
nor ono notable for its eIaberateness,
it combined both early eighteenth
century and modern" compositions
and was sufficiently varied to suit a
wide range OF tastes.
The recital was primarily one to in-
troduce Mr.. Moss in numbers differ
ing far enough in mood and method
to afford a fairly accurate gadge both
as to his tastes and technique, and
both were definitely proved in the
course Of the evening. He chose a
series of piano studies and selections,
all of which lay emphasis on form
and execution, with rather little OF
dramatic appeal but with very much
of melody. There was some direct,
simple program music, indicating a
liking on his part for tone narrative,
and in one or two numbers the en-
broidery of lingering was intricate
mastery Of the keyboard. &
His opening number, Bach's Prelude
and Fugue d Major, did not find him
at his happiest In this composition
the great organist of Weimar exhibits
very characteristically his conscien-
tious regard for beauty of form, and
in this respect Mr.. Moss interpreta-
ton was impeccable, but Bach's al
most religious feeling for emotional
anpeal seemed not to be emphasized,
though the. TRADITIONAL sweetness of
the Tl1uringianFw was always present.
Perhaps it required this first num-
Der to put the musician in tune with
his task. At any rate, his second Of
fering was siperbly rendered. twas
Edward MaeDowe1l's Sonata Ereica, a
four-movement musical fantasy in
spired by Tennyson's '1dylls of the
King IN these four movements the
lover of Tennyson and the lover of
music may find themes bringing back
to memory the noble King Arthur and
his Knights, the faithless Queen GUM
evere, the cavalier and double-deailng
Lancelot, Elaine the Lily Maid Of As
toiat, and all that stately pageantry
which tells one of the famous love
stories of history. Mcdowell, who
always objected to being classed as an
American composer, saying that ne
wished to write world-music and not
national music, surely in this sonata
has caught the medieval spirit. With
his own Celtic-Saxon heritage, the
striking melodic quality of his compo-
sitions, his combination of vigorous
rhythm and unfailing tenderness, and
his unerring instinct for instrumental
eoloring, he has put a wonderful
story into these four movements. Mr..
Moss drew out the wealth OF lively
and gave just the proper
emphasis to the forid expression in
which this composer-who was also a |
poet-woye his felicitous phrases.
Claude DebSsy's Arabesque, G Ma
jor, with it's abrupt and somewhat |
startling combinations, was far cry |
from the Mcdowell number. The De- |
busy selection was shOrt-rather too |
short to be satisfying-but it illustrat- |
ed the charm of this ultra modern
whom Roman ROLAND I
calls SO fascinating as to be intoXIcat- |
ing. ..:.." ...-:..
Following this, Mr.. Moss turned to |
that pianist of pianists, Franz List.
The concert Etude, D fiat. while not
as brilliantly dazzling as some OF the
first group of Il studies with which |
lie young composer astounded Europe
N the late twenties and early thirties
Of the last century, is sufficiently diff
fcult to test the technique of any plan
st who attempts it. Mr.. Moss emerged I
with flying colors, his List displaying
he fertility OF idea combined with the
1ianoforte mastery which have put I
his great Austro-Hungarian artist on
he dizziest pinnacle Of success.
Mr. Moss final number was also
his heaviest" using that term in its
general connotation- as a call upon
sustained emotional appeal or express
3icn. A representative selection from
he Tschiakowsi opera, Eugen or?-
gin. which won the Russian such re-
II = - /, II l