The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-09-24
RUBINSTEIN.
First Appearance of the Piano King In
America.

First Appearance OF the Piano King in
America.
Steinway Hall was the scene Of a remarkable
musical event last night. 1t was the first ap-
pearance OF an artist who, with List and Wagner
forms the climax Of art In Europe. The audience
itself interesting feature Artists of foreign
and local celebrity fringed the hail. not only on the
floor but in both galleries, and litterateurs were
there by the score. 1t was very attentive audi.
dence, too. The great pianist and his associates
had willing listeners. There was no indis-
crimnate applause, but a severe, critical spirit
seemed to have taken possession of the house, to
be broken only by the efforts Of genius. AS for the
local panists, and we may add pianomakers, their
name was Legion. The lobby at the entrance dur
ing the intermisson became a noisy lyceum OF
defamation, and every one obtruded his particu
lar opinion about music In general and Rublnsten
In particular The pianist has associates In his
concerts but they are all lesser lights, lost in the
efnulgence OF his genius. The programme had only
one fault-it was too long. The following will show
what its component opponent Parts ?; Ws, were
d minor, No. 4, Anton Rubinsten piano, with or.
chestra accompaniment, Anton Rubinstein; Aria,
CONCERTO for violin, IN Minor o" Msnde renH
NPnts mir der WsnsG sc
Air and variations, B minor, Hands; Rcndo,
minor, Mozart; March, from 1.-THE Ruins OF
Athens" Beethoven Anton Rubnstein, Duet,
Ormeny Etudes symphoniqucs, schumann, An
ton Rubinstein; Ballad, "Little Bird so Sweetly
Singing" G. B. Allen, Mile. Louise Liebhart;
Flute Obligato, Mr. Retzel Legende, airs Russes,
II. Wieniawsk Henri Wieniawski Aria "Capuetti
{ Montecchi," Bellini, Mile. Louise Ormeny Barca-
role, major, melodie, F major valse, Caprice,
Anton Rubinstein, Anton Rubnstein.
Carl Bergnann led the orchertra and had O
thankess task, for there were rioters In It's ranks
who would like to have inaugurated musical Com
mune. The temperance OF Rubnstein was
heartily greeted-no claque either, but a sound
well-meant expression ofwelcOme The rugged face,
with It's Tartar features and its frame Of long, I'M
cOmbed hair, and the ungainly FORM which bowed
repeatedly In response to the avalanche or applause
attracted and centred upon itself the deepest aten
menCed the Introduction to the cOncertO-a work,
by the way, which Miss Krebs attempted to play at
one OF the philharmonic concerts some time since.
solemn, Wagnerish movement II was, usherng
the piano. New subjects were then introduced by
the composer and player with rich background
of Instrumentation, and the work grew more
massive and more replete with rich
thoughts as 1t proceeded. NOW and then
there came piano cadenza which seemed like
q piece Of orchestrati0n In Its rugged
grandeur, and the dnde OF the movement was q
whirwind In its impetuoslty ana power, calling
forth from the piano perfect Thesaurls OF sound,
which surged above even tne blatant Instruments
that surrounded the inspired player.
The second movement was lovely Afddnte,
opening with rich melody, which became
still more beautiful In the Kaleidoscope changes
OF treatment which It underwent Here the
storm OF the previous movement was lulled into
Cdntdbne calm, In which the singing qualities OF the
piano were brought out to their fullest extent.
Now and then the delicious melody was marred 10y