Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1919-01-11
THE CRITIC TALKS
TO MUSIC LOVERS
Weekly Comment on Things
Musical in Discriminat.
ing Philadelphia

e near the piano recital OF Serge
PtAchmaninoff, the famous Russian com-
Rooer n pianist, at the Academy OF
S4usic. And they were not disappointed
TOT 1t was as interesting a concert In
Hnany respects and caused as much dis
russion as any musical event heard In
fhfs city for a long time.
IT was really the first time that our
pocal music lovers have had the oppor-
Funity to hear Mr.. Rachmaninoff as a
pianist. although, of course. we are fair
" familiar with his work as a COM
poser, having heard two Of his sympho-
enios, his symphonic poem, The Isle of
the Dead and the c sharp minor plano
concerto. played first with the Philadel-
phia Orchestra by Mr.. Constantin Won
Sternberg later by Mr.. Gabrilo-
Switsch, Nine years ago Mr.. Rachmani-
mon visited Philadelphia and conducted
9his e minor symphony. At the same
concert he played his three %preludes.
khe second Of which chat in g sharp
2ninor) has achieved a popularity. espe-
ecially among the female of the piano
Species, which rivals that of THE
pMaiden's Prayer of eighty years ago
with due apologies to Mr.. Rachmani-
enon for comparing his serious work
with the meretricious composition Of
<Thekla Bardycewska.
These smaller works, however. did not
4 Oil ducQudlt lutd VI vi
enof's abilities as a pianist, and, OF
course, none at all as an interpreter of
she works of other composers. There
fore last week was the first time that
Philadelphians had the chance TO hear
ethe distinguished Russian musician
ealong these lines.
yNHE audience. both in size and per-
IL sonnet, reflected credit upon the
AaV.t,ar taa.n 90 Che rftys 1@ha tra1nn1N
WAS nearly filled, not only with the
aforesaid young aides who "dote" on
the c sharp minor prelude, but also
with the elect of the musical colony.
1t Is clear that Mr.. ~Rachmaninoffs
gifts as a composer have
ahis equally great achievements as an
Executive and interpretative artist. At
this late day II is unnecessary TO speak
Tn detail of the concert, except to say
fhat the principal feature of his playing
is "A tremendous individuality, which
WAS especially manifested in the Mozart
Variations and the Beethoven sonata.
which formed the first group on the
program. This personality in his play
eng is as pronounced as is that of Josef
Hofmann, but in a totally different way.
: Comment among the musicians was,
Of course, highly favorable. although
ahere were some who took exception TO
rhis reading of the Mozart and Bee
fhoven numbers OF the ground that lit
Nwas beautiful, but 1t was not Mozart
Band not Beethoven"
1t is true that it was mot Mozart
in the sense In which that composer is
generally played, being far more vigor-
bus and masculine in conception and
Execution than is often accorded to the
sKreat composer. But there were many
Swho felt hat this Interpretation was
fully justified by the sum total of the
work. One of Philadelphia's most emil
nent musicians, in arguing for the
Rachmaninoff version. asked his fellow
ed~isputant: But are we not allowed to
see In these works any more than our
gathers saw which seemed to put his
side Of the case briefly and succinctly.
Another pianist said Il wonder what
Mozart would ave said if lie had heard
1hose variations" 10 which the same
distinguished pianist and composer re-
billed: II will tell you what he would
have said. He would have said, Did !
really write that beautiful work.
HALL Of which leads to the question OF
IA how far an interpreter may legitl-
Smately go in injecting his own person
tality in performance into the works or
another composer. Where shall the line
De uTdWH DtlNttH d lOO SItN 1911 duiltl
aence to the written text and liberties
(which distort the composers meaning?
at goes without saying that the notes
must not be changed and the dynamics
anust be generally observed, but there Is
still a wide range of latitude for indi-
Sidual Interpretation in tempt. nuance
and the thousand and one other ele-
sments that enter into a finished per-
formance.
On the other hand, especially among
the older composers, the editions were
mot prepared with the extreme care
which Is expended upon them now, and
in their day eXactitude of performance
was not so ~strenuously insisted upon.
Therefore IL is probable that in man
ceases their works have been 50 edited
by some one who had little or nothing
30 justify It except that somewhat
snebulous musical element which Is
known as tradition" that the original
smeaning or rather style which the COM
poser had in mind has been utterly lost
That the older composers left much
no the performer is shown not only IN
othe comparatively few marks they used
ito indicate how the music should bt
fplayed, but also in the fact that they
seldom wrote solo CadenZas Tor tnclI
pconcertos, leaving the performer 70 pre-
pare his own cadenza along the line
kOf playing whlCh ShOuId pest III ms pa
s~ticular style of technique.
Beginning with Beethoven, however
this changed and he was the first II
indicate exactly how he wanted h.
works performed, although he did 10
ryrite his own cadenzas. From tina
time on there has been an ever-.nor"a
ing disposition on the part OF the com
poser 10 show exactly what he wants.
THEREFORE IL would seem as thong
II the latitude in individuality of inter
.pretation might safely be constderaol
wider in the works of the older con
iposers han in those of the more modcT
Zones. In the former case also W" nav
nothing except tradition TO go on, an
this is by no means a safe guide. In IN
slater composers there is In nearly ever
cease some competent musician who ma
heard the composer play his " worr
and can thus transmit an authentic Vel
+.Ion for the guidance OF other players.
That this individuality OF interpret;
-tion is often a very good thing for II
scomposer as well as for the audience
seyidenced by the instances, OF whic
%musical history is full, where the cor
: 4noser. hearing a work OF his own pc
Horned by a fine soloist has declared u
.composition 10 be greatly improved I
sths way in which IL was played. The
have been many instances In which u
Acomposer made changes IN the work
conform with what he a heard. The
have also been some In which the ou
-. mo not 81 satisfactory either