Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-03-25


pagan!n!, Wienlawski, L.pinsk!. Ernst
and N!euItenps, wherein v:rtuos!ty and
writing for the instrument. ar- given
reference over musical throught.
Tie list for the piano is more for.
rn!dable. due. ls has been suggested. 20
the changed mechanism AID technique Of
.,ha, instrument. There IS. first Of all:
that rt Scap:naLn. the mos. poetic ot
all concertos; TIE TWO BY List. two OF
Chopin. those Of Tscha.kOwsky. GrIeg.
Mende!ssohn and the two Of Brahms.
But even this LIST. together with few
Others which might be included. is not
L very imposing one for q century OF
mroE!t.on. Ot course. there have been
many other cOLccrtOs written, and oy
somc fine composers. but these are the
main ones which show evidences Of per-
malenc?.
OF TIE present day composers, the
~ -!aro concert0s of Rachmsn!noI
..e'u Z, r" abygt the only ones when
hayn u.cA likelihood Of becoming
part of the permanent reperto!rss; Ihe
y!p.in cOlcer,os Of DvOrak, Goldmark. .
Glaz"gnof and number OF other "'
tie best known musical writers nave
apparently gone into the discard ana
Ic-srvedly 50.
Egar's violin concerto. even. though
introduced BIZ IRE! s!er. did not last and
Of piano concertos there seems 70 De an
cY.u greater dearth. katherine GOOD
son PLAYED q moderately good concerto
b. her husband. but the gr"ater r!an.sts
OF the day. except Rachman!nof. seem
% be composing shorter numbers lot
which there is always market. i"r
haps they are convinced that there =
No necessity for more c"nctrt"s tAah
the repertoire now contains. :,
The concerto literature for the cello
never large. also seems 20 he at -tahH-
still. Those oi I.alo, aint.saens' lC''-
rak asd the seldom hear one "t semi
mann about comprise the modern crop:
The Dvorak, which was so hne.y p.hEtd
br Nr. Penaa at a recent concert "f tAc
Ijrchestra. IL one Of the most effective.
,y. /, suffers from the common fault OF
cello concertos in being very long.
II has another peculiar feature IN
that the bravura passages seem 70 De
,Errst into the work az certain !nttr-
vals when the composer seemed 70 th!nE
,I.t one ,echn!ca! display was Eeccs-
sarv and they do not appear 70 Dc
ro,rralIy developed as IN the cas-" ot TIE
Bee,Loyen violin or the Schumahn piano
4 corcer.os. Dvorak's apparent !hten :
,.on throughout n" WORK was eY!dFht!!
| r.e,oGm and the purely tecAh!ca' pass
| ayes DO not fl any TOO well
y,uIS may have been the result Of
/ composing the work with TIE assist ,
anra Of TWO great cei!lsts, w man H"''
Schroeder. az DvOrak Is saIi 10 nave
. done. Certainly some OF the passage
are TOO cello like in technique 10 naEe
been written By any but great ce!'.S' :
Il tokcs 4 mighty genius 70 acLrpt u.t
Iic,rm Of n great inEtrumenta!ist shI
rot ,rake his composition sound entlr"
Ir .nontaneous. brahms did i. and ~
d,d Npndelssohn ~ q lesser degree, II
,Lcir respective violin concertpS. II th'
,,nrIes rf the collaboration Of Joachim
and David are 10 be belicyef-and ther'
Ia abundant evidence in the letters :"
horh composers that the two great Vl9
i,nis,s we're consulted frequently In tn
course Of the work.
Although the Beethoven concerto va
written for Clement. there - 10 e7'
dence that that artist was conEnlte
drring the course Of the composition
Il paa not Beethoven < habit 20 DO this
end he frequently quarrcl"d hitterl.
with Schuppsnzigh over the violin pas
snges in the quartet. But hc hcTe
changed them.
he FORMER - " lIA 'pii'' W '''t'
was n have the orchestra play all tn
themes Of the first movement as an or
, che;tral prelude. and this, has bee
/. followed as recently az Brahms in IN
. violin concerto and Dvorak in the cell
, concerto, to mention unIy TWO in
, stances. Two Of the earliest cases IL
! breaking away from this custom, es
tablished by the classics, were Men
deissohn IN the violin concerto an
! Schumann In the piano concerto Bruc
and Saint. Saens did the same In thei
first and third violin concertos. re
|, spcctively, and It cannot be denied tha
. the works gain IN spirit thereby
s The theoretical idea in this orchcstra
0 announcement Of themes was to famil
, Iarize the hearers with the themati
s material, so that it,could be recognize
I and followed with tle entrance OF u
!, solo voice. witch o1en gives It out
! highly ornamented form, H0wesef.
\ ears accustomed 70 the vagar'ss