Wolfsohn Beethoven Concert Matinee: 7th

“…Though we are a day or two past the occasion, we feel tempted to refer to the remarkable, but at the same time highly modest effort, which Mr. Wolfsohn has been making in behalf of the inspired classics. The Seventh Beethoven Matinée of his announced series of ten was given, as usual, to a full and appreciative audience at Steinway’s on Friday. Three Sonatas were played—those of F sharp major, op. 78; C sharp minor, Op. 27, No. 2, and E major, Op. 129 [109]. Of these marvels of ingenious and sympathetic beauty the Sonata in C sharp minor may, if possible, be preferred for its appealing poetry, and the very rare depth, purity, and grace, which make its movements ‘one entire and perfect chrysolite’ of music. This is the famous moonlight sonata, which is, indeed, a musical moonlight, exquisite as melody and moonlight can be when by the solvent of genius they appear to be one and the sane, In its adagio of golden melancholy exists the tenderest and grandest spirit of rest, and of contemplation; but to say this is only to suggest a feeble generalization of its beauty, which, like all else that Beethoven has revealed, is wonderfully self-contained—apparently a beauty in itself beyond anything described, The lively and quick movements—an allegretto and presto agitato—complete the work exquisitely, the composer’s Titanic nature leading us out into a wilderness of emotions and graces. This and much more is to be said of the composition—it must be inferred what praise is due to the performer who interprets it truly for us. It is plain, in all aspects, that Mr. Wolfsohn plays his composer by heart; and difficult as the work is to most musicians, it seems a simple one to this appreciative student. He surrenders his fingers to the master, and they become so many media of music; such is the true disposition of the interpreter. Without having any claim or ambition that we know of as a piano prestidigatateur, or a debonair performer of volatilities and variations, or of weak fantasias, reminiscences and medleys, it is to Mr. Wolfsohn’s credit that he has essayed to render Beethoven, and he has succeeded as no musician in America within ready recollection, and not many in Europe, are able to do. Three songs of Schumann were sung between the sonata performances, by Madame Johannsen, and it is needless to say, with a great deal of feeling, if sometimes with too much force. We doubt if such songs as Volksliedchen are to be sung in concert style, or if Schumann and Schubert are ever so interesting as when sung unambitiously. Something less and more than a powerful voice, as something more and less than intentionally dexterous playing is needed for the exposition of Beethoven and Schumann.”

(…) we sincerely approve of Wolfsohn’s decision to give up his original plan to perform Beethoven’s 33 well-known variations, because they do not fit into the sonata cycle. (Musical analysis and interpretation of three sonatas follows)