It was a happy thought to replace the usual symphony concert by a programme of chamber music on Sunday; one fully appreciated by the public, judging by the packed house and subsequent applause.
Before turning to any-consideration of this concert, however, it is both interesting and necessary to digress a little on the subject of piano playing, and in particular, the case of Maestro Paci. It may not generally be known, then, that his existence here at all is due to the fact that Shanghai happened to be a port of call on his travels as a concert pianist. That he had had conducting experience under Tos-canine, coupled with the presence of mind of a certain Councillor (alas, would that there were more of his ilk alive to-day), secured for Shanghai a symphony orchestra of a quality and scope which had never previously existed in the town.
All that, though, was a long while ago, 1919 to be exact. In the interven. ing years, Paci has given, regretfully all too seldom, concerts of piano music. The "old-timer" will recall the chamber concerts at the Town Hall, and later, a fine performance of Mozarts D minor piano concerto given at the French Club. In more recent years (1933), a capacity crowd of over 2,000 people filled and overflowed the Grand Theatre at a special Beethoven programme wherein the Maestro performed the distinguished feat of playing the second 0p3l piano sonata, the "Emperor" concerto (without conductor), finally conducting the fifth symphony.
If one were churlish enough to criticize the current concert it certain. ly would not have reference to the playing of the handful of instrumentalists who held the large audience's close attention throughout the long concert, There may have been those, however, who considered that the programme was weighted down a trifle on the classical side. To have substituted Beethoven for someone after 1900, and to have partnered him with Strauss on the other side of the interval would have been perfect.
The opening number, Schubert's Quintete "Die Forelle" charmingly bears out Liszt's famous summing-up of the composer—"the most poetical musician that ever was." With one or two minor exceptions the players proved this. Prof. Foa and Mr. Ulistein's tonal qualities were a delight throughout, but on occasion, notably in the second movement, Mr. Podushka's rhythm was at variance with the others. The Maestro's measured trills are a delight.
The seating arrangements for the Octet, comprised of a pair of oboes, clarinets, bassoons and French horns, was unconventional I believe, since they usually are placed in circular formation. Due to possible peculiarities in the acoustics of the Lyceum coupled with an unequal placing of instruments, tonal inconsistencies were rather marked. In the playing of the Rondino, a light work by Beethoven of not very great interest, the "cantoris" scored over the decani," but this was undoubtedly due to the horn passages which were beautifully played and timed. The Haydn Divertimento was of a brighter and pleasanter character, which was well received.
In his early instrumental works, Richard Strauss cannot be said to have created new—foundations, although here and there peep unmistakable signs and portents of what was to come later. Up to Opus 20 his list of compositions showed that his music was based solidly and intelligently on the works of the giants who had gone before.
It is natural, then, that there is much Brahms in the Violin Sonata, but in fairness it must be said that there is more Strauss: the incalculable Strauss of impetuous and slashing figurations, fashioned with a mobile chromatiesm not found in the older master. This sonata, with its crashing octaves and complicated notation is both difficult and hazardous to play, the latter physically so, for the pianist is requested to leap fearlessly about the keyboard, "energico e ff; which is eminently conducive to a split finger or torn nail.
One casts round somewhat feebly for adjectives to describe the playing of the sonata by Maestro Paci and Prof. Foa. Perhaps, quite simply, "great" is the word. Their playing has all the desirable qualities for sonata work: an inborn sense of time values, sureness and beauty of touch and of course, complete technical mastery. Beyond, and less definable, is a psychological and musical affinity, which is probably the most cogent underlying principle of their superb playing.
The audience was most enthusiastic: indeed, it was a most moving performance.—H.
Text read from the printed page and cleaned; old type leaves the occasional error.