"BRAVOS" FOR BUSONI IN PARIS
Favorite Pianist Astonishes Recital Hearers with Rhythmic Eccentricities,
but Has Average Nine Recalls Per Group
Violinist Hartmann Lures Hermit Debussy from Seclusion to Act as His Accompanist
Composer Modest as to His Ability as Pianist
The vent of the week has been the recital given by Ferruccio Busoni at the Salle Erard, which attracted a large and unusually musicianly audience. Busoni is probably the favorite pianist of Parisians. The enthusiasm for him on Friday evening might be described as one continuous roar of applause, for there was no opportunity for spasmodic outubrsts. The intervals between the pieces forming the groups on the veteran pianist's program were entirely filled by handclapping and cheering on the part of those present, and even when away from the piano M. Busoni was never allowed a moment's rest, being recalled on average eight or nine times on every occasion that he quitted the instrument. When he had acknowledged the bravos of the audience for the ninth time it was time for him to begin his next group.
It was interesting to note the large number of prominent pianists of many nationalities, including numerous Americans, who attended the recital.
Several people were compelled to leave the concert hall on account of the disgraceful atmosphere (meteorologically) prevailing. The late Mme. Erard had a clause in her will which permits pianists to give concerts in the Salle of that name without any charge. This is what the French admirably style a "beau geste." It is a pity that the surviving kith and kin of Mme. Erard do not take a little more interest in this splendid legacy to pianists and provide proper ventilation in the hall, in which the pianists' admirers are compelled to endure partial asphyxiation whenever it is comfortably filled.
Busoni is giving three recitals in Paris and it is remarkable that the works of Liszt figure prominently upon each of his programs. On Friday Busoni played with superb majesty the only sonata that Liszt wrote for piano. He rose to even greater heights of interpretative skill in Beethoven's "Six Bagatelles," but what acute mental vibrations he aroused by the playing of his own setting of four Bach preludes to choral motifs! Finally Busoni gave the twelve Chopin studies, playing them in strict defiance of all French tradition. His rhythmical eccentricities caused many to gasp, but the most astonished of the listeners forgave Busoni all because, whatever prejudices might be urged against certain of his ideas, they had never heard a more brillianst interpretation of this difficult group. Busoni was actually nervous in many of the studies, repeatedly striking wrong notes. His tempo in the well-known arpeggio etude practically converted the work into a mazurka.
Busoni in Our Chief Cities
I had a few words with Busoni afterward, but at the mention of the word interview he beat a hasty retreat. He looked very fatigued, but before leaving for his well-earned repose declared that he had practically concluded arrangements for playing in New York, Boston and Chicago next year. He added, however, that he did not wish the impression to get abroad that he intended making a big tour. On Sunday Busoni played at the Conservatoire concert one of the lesser known Saint-Saens concertos.
