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PINE RECITALBY MACMILLENBY OLIN DOWNESMr. Francis Macmillen* returning froml successful cross-country tour, gave tis second Boston recital yesterday aftertoon in Chickering Hall, playing thistrogramme;. Variations on a Theme by Corelli.••••TartinlL Concerto in A major..... .Christian binding I. a Adagio from Concerto in E Major...Bachb ......... M. Leclalrc Minuet.............. Moxart(By request)1, a Legende .......••••••• .Chdstlan Bindingb Bohemian Dance ...A, Bandegger, Jr.i. Andante and Final. Iron, the 0™%^Mr. Richard Hageman was accompanist.Mr. Macmillen has certainly, to use a hackneyed phrase, a future before him.It is true that he has not yet that apulence of reserve force which he will possess later on. Nor is he as self-con- i ■ ■ pi tained as he will become in future years. II A.t present his impetuous temperament, 11| while it rarely drives him to artist excess. causes him to draw recklessly upon his fund of reserve vitality, and yesterday, after a taxing concert tour, lie was evidently playing on his “nerve.’* His tone is uniformly pure and sustained, although, for the reason just mentioned, it will be mellower and bigger in time to come. Technically he is remarkable as having one of the most phenomenal bow i qarms we have ever seen. His execution of spiccato and staccato passages is remarkably clean-cut and iinished.One of the most interesting moments of the concert was his reading of Binding’s A major concerto, which Mr. Felix Win-ternltz of this city performed for the first time at a Symphony concert a season ago. Tills concerto is very modern »in construction, bristles with monumental technical problems, and last, but not Wittleijst, offers a supreme test of an interpreter’s musicianship. Mr. Macmillen, in his earnestness, wa* occasionally inclined to overlook technical details, but his conception of the work was amazingin so young a man.Immediately one perceived a well-defined purpose, and the concerto, which can very easily become obscure and indefinite, showed out in strong, coherent lines under his bow. Binding stands a conspicuously individual figure in modern music, and his creations might bear as a motto Whitman’s line: The modern man [ sing.” It is virile, elemental and strongly national in coloring, Mr. Macmillen stated the themes with tense vigor and 1 authority. There was breadth and sustained sweep throughout. Even the jim-Jam rhythm of the last section, which is very bizarre to the cosmopolitan ear, was made intelligible by his forceful, clear 11 | accentuation. The young man who can 11 L do anything at all with such a work is to be congratulated, and Mr. Macmlllem’s performance, In spite of a few technical flaws, was a masterly one.He plays this concerto on the 29th and 30th with the Chicago Orchestra.Other specially successful moments were the Mozart minuet, which was played at the first concert, and repeated by request, and Binding's legend. mmRandegger’s effective dance, the ac- |J companiment of whlcn Mr. Hageman kv played with ferocious Joy, was so sue- ft cessful as to oblige the violinist to add V-an encore.This he had previously done, in the I N« ' shape of a Hungarian dance, and he i, i added to the programme by playing, if . I we are not mistaken, the finale of Sara-sate’s Zlgeunerwiesen.” jj I Mr. Hageman wag heavy-handed with I-1 his accompaniments. Of all pianists, he ■Is the last who should play with the lid | ,, of the piano open, and he was not always | in rhythmical unison with the soloist.
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Boston Post
Boston, Massachusetts, US
Tue, Mar 05, 1907
Page 10
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