, 1872-12-04
Inv it to 1,e noticed at the piano Whatever eject

it may have afterwards
tn be- described as it adopts itself to every class
Of mnsic and to every ranging shade OF express |
sion. It is powerful, CRISP, and unerr1ng, ana !
vet it is e1qaisitely light and graceful. 1t IS
capable Of imparting majesty and massiyeness |
or 1eIcacy and refinement. By virtue of it be !
an nrod1ca : cdutdbile effect as rich as that Of
Gottschalk; be can gather together the full re-
eonrces Of the instrument and concentrate them,
as no other player can, in a rushing torrent OF
piano. in soft passages, to the delicacy and
nnlacdity Of a brook-fow. But, whatever
may be the character Of the music
which is engaging him, bis touch Is always
CURED, has an ineffab1e tenderness. At times |
Lis hands rise and fall, seemingly in the most
istless, nonchalant, and mechanical way; but
listen and you viii find that the rythm is as
struck out full, rounded, and perfect.
The compositions Of Rubipstein- compo-
sition alone, the Ocean Symphony, which WAS
one produced here entlre-furnish the evidence
Of the poetical nature Of his organization His
execution Of others music adds to the proofs.
Whether it be the ancient, severe forms Of
Bach, the majestic depths Of Beethoven, the
graceful measures of Mendelssohn, the weird
numbers Of Chopin, OF the quaint and. fanciful
s@as Of zsea IND @s senscn 1 h2%
Of The composer @ Although: @ big ind.
enforce itself to the detrinent Of the musi9
and with all the magnetism Of his influence, it ia
ed himsalf in the Tni1sic and ao. oompletely de-
voted his gifts both Of intelligence and physique,
to the correct Interpretation Of the composer,
and to the establishment Of the proper relations
s;ta hafora fis n;ano ha ia mi on1y forcetfnl of
his audience, but se1f-forgetful. He iB oblivious
| to all but the music before him; and devotes
himself, body and soul, to it's reading, and herein
| har1 Tao1l Got+sn1,ail anj cthaTa haaye had the
1o1a a,ert o. efronalv onntir influence
| R,1t 4 was nnra1r nh;ecfire. tt had mo- power
bevond tha 1rect nersonsl influence Of the
! n1s,ar ,],o, 80 1Sstanar and the rasuIt
Tas that +ha ,istener went awav With
@ va x,,.rass;,+, - ~ al;11 nf The nlayer Int
uithn13t eo1i+ar, ;daa narhans of tiie music
.vh;cb bs5 haen nsrformad Rubinstein. on the
nthar ha5 u, 1 enraea 1ets +he stener into the
eaora+s ~ hs 117ys;c he ia niavino and so ius-
+rates ~ m ;5aaa ~ tha comnoseF with his brill-
;ant an;rs u h;s sron5erfn1 tachnona, and now
ia,s e geu ie 4ia+ Ia W;thd1aSs the aften
tretea ~ IL nn t'e music This can oniy be tie
1 - ~ @ ,.,t;o,,o ,n3 t,7,7v o,tant ort;et
~ 80 ~ 7;sr;o-, ~ anch man is ~ fhe hiehnst
a1,d nnbiaat oba1scter FoT this reason r far
mns;c M I* and esnae;alIg eyarv person Who makes
sT av Of the Character and and
| STYLE of the best music which has been written
ternretipr Ter sp p t. '''Ao - >l0 pi'E0A
''l It % the concert on last evening, tho attendance
uaa hattar than m Monday evening. and the
nroersmma nan nnra v,ried The indisnosition Of
@ bI1}s 11lr nrnenV % cansad change in the numbers
and I her % place On % tie " programme q was filed By
Rnh;nstain u l, vrho snhstit13ed thTee If his own
comnnsitn3s 3sMRnrca1oIe n ma. s.. never before
nlaved in this county,. 3 Melodie. and Valse
Caprice. His His other Numbers were Prelude and
/ N0Nf~NSSs
of Jabn a III Feda noctnrnea Iiszs
@ transcript;on i Of Of schubert's @Erl King" the
a4hans ina1en iau and schumanna fsnc;fni nc,r-
n;va1 - wider more irving raneo Of
,sa sa; mtust hafars h5 nsn;st
;a a @Gs of 4ha Ep1 Tin" aa }horongh1v
-as1is1;c IN II hronobt hafora 3he iatener ner
feat c 5ot onlv in the worfne M Of
;ts ;ntanaelv dramatic and involved techninue.
hs+ ais q; 3ha a-nrase;on ~ tha noatica1 eonti
ment. IT, The m fearfni ride 90 yivid1y EXPRESSED in
triplets. the fright Of the child the soothing Of
az FatI,n, ord 34,o ,oica ~ +ha Fri Eino sonnd.
80 1,S;,a.t,5