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Show Beethoven. Schumann, Grieg, MacDowell Subjects ol Three Delightful Lectures Concluding Miss Florence Allen's Series that th mualcal Idea ahaU be lovely, energetic en-ergetic or Interesting, ao long aa they turo It Inside out and back again, up-Ida up-Ida down and ovar and ovar for a car-tain car-tain number or pages. Thar hava gone mad ovar development la music and hava (oat tha sanity of tuna. Their mualo la all laavaa without trunk or branchaa or twlira to give It tangible llnse. Qrleg and MacDowell bold to tha eon Idea, to tha perceptible mualcal at rain. Thar .ere nationalists In that thsy uaa tha harmonic and mclodlo waalth of tha folk song with Ha savage accents and pacullar modulations. They do not derive de-rive their genius from these primitive tunes, but they have tha Inetlnct and tha daring to catch and transform the beauty of the folk song. There la another quality In certain of tha Orte and MacDowell plecea which may almost be called 'fragrance There la something ao Invlalbly yet sharply sweety about them that they attract and .luiietretlng thla characteristic of MacDowell Mac-Dowell In particular, while referring also to Certain of the Orteg numbers. Miss Allen plaved MacDowell a "To a Water Lily. "Shadow Dance" and "Clair da Luna." opua IT. No. IV . Qrleg and MacDowell will live." aha aald In coneluelon. "baceuisa they touch numan hearta and move to the depths the tenderest chorda of human fooling.' Mfss Ftorsnc E. AUsn eomp1ttd hr ssries of sis Iscturss on cnuslrsj sub-foots sub-foots bsfor Uk stuint of Rowland Hall ystnls,y afternoon, closing th series with n Intensely Interesting : and intimate study of tha works oT Grief aod MacDowell. . Tha lectures given tMa weak were of even greater Interest than thoee of last week, touching so cloaely, aa they dW, the work In which tba majority of tier listeners are study Inf. Miss Allen's subject Monday afternoon was Beethoven, that of Wednesday wsa Hchomann. while Grieg n4 MacDowell were discussed yesterday. "There were two things In Beetho van's ancestry and personal characteristics character-istics which came out strongly In his music." Miss Allen said Monday. The first waa his Flemish anoeatry. 'from which he undoubtedly derived a directness direct-ness of style and a doggad willingness to work, uncharacteristic of the usual composer. Coupled with thla power of perception and persistence, waa Ms sturdy stur-dy Independence. This Independence manifested ltetf tn Beethoven's dally life In many grotesque wave. Ha would throw ths eggs at tha waiter and would call hlg noble patron a donkey. "But in his music, this scorn of convention, con-vention, held In leaah as It waa by a keen power of self criticism, manifested Iteelf In actual Invention, .In tha biasing bias-ing of new musical paths. T Beethoven stands on tha divide between be-tween the classical and tha romantic schools, and dominates them both. He haa the supreme mastery of form, and the supreme, because th universal, expression ex-pression of human feeling. "The Shakespeare of Magic. "Beethoven I th Shakespeare of music mu-sic literature. H. like Shakespeare with his Lear and Hamlet In tragedy, bis Gobbo In comedy, hie Portia In romance, and his Puck and Ariel In exnulelte fairy tale Beethoven runs through all" the moods of musical expression. His mystery mys-tery and whimsical corned v. virility and tenderness, tragedy and rollicking hilarity hilari-ty flow from tha aama pen In astound- Ing swiftness. Then, too. Beethoven gives us tha acme of thematic writing-"The writing-"The composers, good and bad. divine themselves Into two classes: those whose music is good because their Ideas are Interesting, and thoee whose must Is bad because their tdeaa are uninteresting. unin-teresting. Of all composers Beethoven Beetho-ven wss the master In working over an Idea originally trite. Into sn Ides of wonderful potentiality. This Is Illustrated tn tha themes of tha flrsc and second movements of th Fifth Symphony, Sym-phony, which as they first occurred to Beethoven were relatively Insignificant, but as refined and given variety of pitch, harmony and rhythm, become the fitting fit-ting foundation of perhaps tha greatest clssslo work. "Beethoven's transitions ara also markedly mark-edly different from those of Mosart and Hevdn- It Is with Haydn aa though ha said: 'Now I am going- across the street. We will play a few scale while wa go over. "Beethoven so Interweave hts transitional transi-tional material with what has gone before be-fore and with what Is to come; and j creates It out of the material already used that we are not onaoloue of th crossing. Th movement 1 beautiful, unioln ted. whole. "The highest attribute of Beethoven Is. after all, not the attribute of etrle, but that of his appeal to our feeling for 1 beauty and ' of feeling fnr expression. Beethoven appeals alike to the man of action and to the dreamer. Ha appeals to all. In th universality of his genius there Is something for every nature, every ev-ery disposition." Bchumaon'g Dttai Person allty. As an Introduction to ths works of Schumann. Miss Allen told of tha strange mental characteristic of the man, whlca sre reflected in a Large measure In many of his works. "Kchumann was posveaaed1 by a strange phantasy." Mis Allen aald. "He thought of himself as having two distinct personalities. per-sonalities. Bo distinct and separate were these personaJltie to him that be named one "FTorestan" and the other "Euss-blue. "Euss-blue. He called hla wife "Chi arm," and sometime at the bottom of his music he would sign "Florestan." sometimes "Ruse hi us" and sometimes "Florestan to Chlara." "He also thought of himself and th voung men who were associate, with him In editing the "N'eua Z I tech rift 'Fur Mo Ik." as being a band formed to fight th musical Philistines; that Is. the com- I posers of that day who believed that the hltfhest aim of musical composers waa to pile up the greatest number of scales to the par. Bo In his music we find fre-nuent fre-nuent reference to this 'David's band. They march against th Philistines In ! the Tarneva!,' and they dance In a riot j of hilarity In th "Davtdsbundlertanse.M I "An Indication of Schumann's Intellectual Intel-lectual growth Is found In that In tha reissues of his earlier works, he erased the names of 'Flnreetsn' and 'Ruseblus.' and became more practical In hla thought methods. "Taking up bis child scenes, w are struck at first bv the variety In thee tittle pic re. The are pieces so perfect per-fect In their expression, so rich In their content that their smallneas of scop Is no more derogatory than th sla of th vk -let In comparison with the chrysanthemum. chrysanthe-mum. "They range from th healthy energy fn 'Th Harvest Song' to th regret and sadness In 'The 1,1 1 tie Romano.' and 'The Folk Song. Indeed. It s remarkable remark-able with what few notes and what few measures feVhumann can give that tinge of human feeling which Is tha artistic asset of the romantic art. Elemental Force Is ImpregglTe. "Taking up his more ambitious writing writ-ing the thing which Impresses us from the start to th finish Is their elemental ' force. This force, which rsme to Schumann Schu-mann Instinctively, he enhanced by In -tultlvely s voiding soma of tha faults of the more formal writers. "Schumann almost never follows an Impetuous Im-petuous rushing theme with a .trite and diluted suhjert. He never attaches an un re la Led tailpiece at t be conclusion of his music, hut his ends are almost without exception either with tit original origi-nal musical Idea or with a definite reminiscence rem-iniscence of the theme. He thus sums up. as It were, his whole musical argument, instead of ending with a weak peroration perora-tion or an im related clause. . "He also enhances his strengtA by the rery marked contrasts, putting a tender lyric melody after some ."smashing" papage of chords. - "Mcliumann has a 10 certain spirit u- alltv In h's music that Is hard to describe. de-scribe. Ills musical idea la better than his expreeelon of that Idea. This Is so partly beoaus Schumann did not write pisnlstlcsllv. and also because the essence , of his musical phrsses Is not their tonal j besuty. nor their beauty of form, but their emotional weight, so thst their hsnntln feeling Is far deeper than any tinkle of th piano ran ever voice.' Grief and MacDowell Similar. Grieg and MacDowell were treated In the lecture given yesterday afternoon by , Miss Allen at her home on First avenue. This lecture was Illustrated ae'were the! others, with many excerpts from tne I composer's works, to point th different features under discussion. "Grieg and MacDowell bring us Into i th more intimate phase of modern inn ' sic." Miss Allen said. "Rather than the ) great titans w ho csst mountains of tons j upon one another, thev are the elves who J Hue in the woodland and hunt th secret i places of beauty In music. I "They are slnsuiarly alike In their shy. j retiring dispositions, and are eingulsrly , different from the forceful, pushing genius that appears today In the musical arena. Thev are singularly alike in certain phsftcs of their music. "That is to say. both are lyricists and I melodists, and to oat extent, national- j Ists. They are lyric poets in music be- caus they write tha short story Instead i of th epic. They portray subjective i feeling rather than th objective must- j ceJ event. Though In Inch snave lhlr music Is smaller, it none the less ha Its place. Just aa - De Maupassant has his j plac with th old three -volume nevelist. "They are melodists In thst they mark : a revolt against th overinslstenc of ' thematic music; that Is. music founded on development Instead of upon time. "Th modern Germans do not demand J |