THE MUSIN CONCERT COMPANY.

Otago Witness, Issue 2004, 21 July 1892, Page 35

THE MUSIN CONCERT COMPANY.

Heralded throughout the colony with a great nourish of trumpets, and ostentatiously blazoned and eulogised in every direction, the Musin Concert Company appeared before a Dunedin audience at the Garrison Hall on Monday evening. The company comprises "three talented stars"— Ovide Musin, a Belgian violinist; Eduard Scharf, a German pianist ; and Miss Louise Tanner, an American soprano. The Belgian claims to be a violiu virtuoso possessing phenomenal powers, sweeping through the colony with the bold assertion that he has conquered the world of violinists (living and dead), with the questionable exception of two — presumably Paganini and Weinawski. In the face of this modest assumption, may wo deferentially ask how men like Spohr, Sivori, Kreutzer, Joachim, Vieuxtemps, Ernst, Leonard, Tartini, Viotti, Rode, Remenyi, Sarasate, Wilhelmj, &c, &c, have been eclipsed by a man whose marvellous virtuosity failed to arrest the attention of the -compilers of fiuch an authoritative and exhaustive work as Grove's " Dictionary of Music" ? M. Musin's celebrity appears to bo founded exclusively upon his late career in that land of wonder and invention — America, as he brings nothing whatever to support his prestige as a European "incomparable." Having heard M. Musin, his non-appearance in "Grove" is explained. Miss Tanner faced the footlights with a reputation to sustain of being capable of singing over a range of three octaves ; but Herr Scharf was less presumptive [regarding his stupendous powers, and his performance was the most satisfactory of the three.

Eduabd Scjiari-.

During the opening performance Herr Scharf contributed three pianoforte soli : 1, an elaborate improvisation on the " Faust " waltz (from Gh. Gounod's opera of that name) by Franz Liszt, the renowned Hungarian pianist ; 2, (a) "Norwegian bridal procession," by G. Greig, a Norwegian pianist, (b) Mazurka, by Godard ; 3, A Rigaudon, by Joachim Raff. The-I/iszt improvisation is similar in form and construction to the Liszt transcriptions, and is a style of solo towards which German pianists are exceedingly prone, and one which somewhat strongly suggests the mechanism of fireworks. Greig's compositions are of a more rhythmical and graceful nature, and more peaceful in sentiment than the fiery romanticism of the Liszt music, consequently in contrast. Raff's compositions bear some resemblance to the character and nature of the old style of Bach's writing ; a ltigaudon, for instance, being an old French dance, of Provencal origin, and is a composition of a merry and cheerful description. Quite recently we have been visited by a succession of distinguished pianists. We have had by turns this great player and the other great composer ; we have been treated to the smooth, the splendid, the brilliant, the sentimental, the severe iv style, aud the ;«e«tfo-classicist on "pedalism." The system of treatment or style of playing of individual performers on the pianoforte cannot be explained in a word. Herr Scharf's style is masterly, artistic, brilliant, and firm ; but in elasticity of touch, sympathetic rendering, picturesqueness, vivacity, abandon, and elegance in phrasing through all the varieties of expression he is greatly inferior to Henri Kowalski. Steadiness with respect to time, a good rhythm, and neatness of execution characterised Herr Scharf's performance of all his numbers, but his style in general is affected and artificial. Compared with M. Leon Driver, Herr Scharf is again at a disadvantage, the high finish of all his music being the only point on which he can score. No pianist who has ever visited this colony could infuse into his playing, to so high a degree, the nature and spirit of the composition played as could M. Leon-Driver, while his 'execution was wonderful, and his individuality and power of dramatic expression not inferior to Kowalski. Herr Scharf excels as an accompanist in all respects, but he does not possess the sensitive organisation, or yet the extensive experience of Herr Scherek in this capacity. For graceful sympathy, license, and spirited assistance, Miss Griffiths (a young lady pianiste who visited Dunedin in company with M. Kowalski) would be preferred by most soloists to either ' of the German pianists. Further comparisons with Godard, Ketten, Hill, Giorza, Sauret;, Burvet, kc, all of whom have played in Dunedin, would not assist the judgment of those who did not hear Herr Scharf, and those who did need no prompting. He was encored for each contribution. Miss Louisk Tannj;k. Miss Tanner sang an air (with variations) by Proch, " The vow " and the "Speaking waltz 1 ' (Arditi), and a soprano score from an operatic duet, to which M. Muhin supplied a violin obligate She was recalled after each number, and sang the waltz song in French. A theme and variations for the voice is rather novel, and as it appeared on the programme was a misnomer. It should have been "voice gyrations," being a mere vehicle for display. The trills, runs, shakes, and turns incidental to this vagary were executed without an effort, aud with the entire absence of facial or corporal contortion. Her singing throughout the evening was not utterly devoid of feeling and expression. Her voice is musical hi tone, but it is not a phenomenal or even a remark ible voice, aud its range naturally is considerably less than three octaves — very considerably. It has little carrying power, the timbre is delicate — iv fact, her voice is too thin, po&sesscs neither power nor volume, and her style is languishing to excess. Her articulation is good, but her accent and intonation suggest a childlike expressiou. Even in a crescendo she cannot emit a volume of sound. Her "Annie Laurie" was pleasingly and 6weetly sung, and her singing in a drawing

room would be very effective. Local comparisons might be made with Miss Tanner to tho "nightingale's" serious discomfiture, without casting round for prima donnas on tour, and this remark touching local (to New Zealand) comparisons applies to tho whole 2ompauy. Ovide Musin. It is difficulU;o compare violiuists ; it is moro easy to contrast them. We may compare L. Spohr and J. Joachim, or A. Wilhelmj and Lady Halle ; but we cannot compare Joachim and Sarasate, or Spohr and Paganini. Spohr, Joachim, Wilhelmj, and Halle are exponents of the violin art classical — pure and siniplo ; Sarasate, Remenyi, and Weinawski belong to the eccentric school of violin virtuosity, disciples of the great arch-charlatan—Puga-nun. Of the characteristic traits which distinguish tho classic from the eccentric only a superficial impression can be conveyed to those who are nob musicians. The classic art found its first great exponent in tho Italian violinist, Corelli ; and his method or style received a tremendous impetus from tho celebrated virtuoso and composer, L. Spohr, whose voluminous compositions for the instrument were, like his playing, severely classical, rigid, inflexible, the perfection of finish and attainment, and of great dramatic power and refined sentiment. Spohr is the acknowledged head of the classical school, and contemporary with him (though an antipodean in the most extreme sense) was the towering, hot-blooded Italian wizard, the indisputable sovereign and founder of the eccentric school, Nicolo Paganini. Tho great Geonoso virtuoso revived the antiquated aud almost forgotteu arb of harmonic playing, and his manipular inventions and pure individualities bounded ou the supernatural; yet it was without doubt the light of genius which illumined the extraordinary powers of this marvellous man. Fin geiat aus finstern regionem, wo nur die unglucksergen wohnon. Hero then, are the two distinct schools of violin playing. Of the classical school nothing could be more difficult than Henri Vieuxtemps' E major concerto (op. 40), while the exactness of bowing and lingering necessary in the eccentric style to procluco the harmonic combinations render that department of playing unattainable to many. Much may bo written in favour of both methods, and tho choice of either is a mere matter of intellectual tendency. Too often, however, is the latter style carried beyond tho limits proscribed by even tho eccentric devotee, and a most elevating and entrancing art then becomes the property of buffonory aud burlesque — Simousen's "Drunken Man" for example. M. Musin is au imitator of the "immortal trickster." Ho played as violin soli : Henri Leonard's well-known solo (op. 2), an improvisation on tho Austrian national hymn, "God preserve tho Emperor," composed by Haydn, the "Creation" man; an andante and gavotte, by the violinist F. Ries ; and bravura vsriations on a theme from Rossini's opera, " Moses in Egypt." The latter bping one of Paganini's mysterious compositions for the fourth string. M. Musiu has a stiff appearance on the stage. He turned slowly, and neither his attitude nor his style in general assured us of the presence of a master. Wo will follow him through tho Leonard solo only. No intensity of tone, passionate accent, or graceful rhythm marked his progress through its sublime and perfect introduction. From the first bow drawn he manifested great carelessness, and with regard to parallel bowing his style was slovenly, lacking firmness, precifaion, and attack. Nothing can possibly be said in favour of his opening Iv the air, with a note of complement, he played with good accent and expression. Omitting the arpeggio variation, he betrayed in a high degree his artistic ability and power over the eccentric device in the harmonic and natural note variation, and rode in triumph over its multiplied difficulties. His random and double forte bowing on the fourth string as an opening to Leonard's worldrenowned duetto, and his artistic delivery of this wonderful and soul-stirring variation was imperfect in every respect. In the brilliant and diverting finale in right and left hand pizzicato he was no more successful, producing a mere scufila of incoherent sounds, without tho least similarty to the air varied, and an nbter disregard of the intention, of the composer. He was more successful in his playing of Raff's " Cavatina." In fact, his fourth string performances were in advance of all his other efforts excepting his indisputable skill in the production of artificial harmonics (and in this particular he has the assistance of a magnificent instrument) and the delicacy of his tone shading. Compared with Remenyi, M. Musin is greatly inferior in every essential save his skill in harmonics. Remenyi's very appearanceon the stage assured his audience of the presence of a master. From the first vibration of a divine instrument (a Lupot) the Hungarian virtuoso triumphed in sublime ecstasy over the manifold and stupendous difficulties of the eccentric art. Harmonics (natural and artificial), pizzicati (right and left hand), double stopping, shakes (single and double) flew about in-wild profusion, or rolled over aud^ver like storm clouds, while under his firm and powerful bow arm every effort and artifice combined to produce the very incarnation of music. Nor was he wanting in grace, either in attitude or style. Perfect command over the most remote and effective adjuncts of violin playing was manifested, and the presence of freedom and boldness assured a perfect delivery. [Besides these features, other traits of Remeuy'is playing were his wonderful legato bowing, the enthusiasm he infused into his music, his perfection of rythmical colouring, and his power to arouse musical sensibility and to carry his audience away in a perfect frenzy of excitement by the rapturous and melodious strains which flowed from his instrument; added to which, his powers were mature, and he possessed that angelic singing power which betrays the most gifted players'secret thoughts. Of the Paganini variations little need be said, as the mode of operation is objectionable. The instrument is stripped of all save the fourth string ; which, to allow the bridge to maintain its perpendicular, is strained obliquely up tho finger board ; thus, in consequence of the removal of the three higher strings, and tho fourth coming near the centre of the fingerboard, the elevations of the bow (one of the greatest difficulties in the whole teshnics of [ violin playing) are dispensed with, and the player just saws away horizontally. Henri Vieuxtemps wrote a similar solo (a fantasia on "Norma") to] the Paganini vagary, but in neither case is any license given to strip the instrument. Paganini turned his . violin in various ways, usually doing so while he was playing, but never exchanged it. The G string is generally tuned to B Flat to render such compositions as those named, but the instrument otherwise should remain intact, and while the player hands it to the audience to convince themselves that there is no deception, and that the instrument has but one string, herein lies the secret of the task being accomplished. Further, the fourth string being removed from its normal position above the bass bar, causes a strange, heterogeneous tone to prevail, which is nob natural to the violin. Briefly, there is a suspicion of the jackdaw iii peacock's feathers lurking around this style of violin virtuosity. Colun-Mezin.