The New York herald., 1872-09-30
THE FIRST RUBINsTEM MATINEE

There was larger audience In Steinway Hall on
saturday afternoon than We have seen there since
the Nilsson matinees. They were well repaid for
going there. The programme was the best. as yet,
given BY the great Russian pianist and the no less
great Polish viOlinist, Wieniawski. No orchestra
was there but its absence was not felt. Rubinstein
commenced the concert with Beethovens overture
to "Egmont," and next essayed the most lovely OF
the immortal composers works, the never-tobe-
forgotten moonlight Sonata" In sharp minor.
opus 27, No. Q, which enormously called in the
programme "SOnata Appassionata In minor"
The opening adaglo sostenuto, tone idyi which Ia
instinct with the true spirit OF poetry, was played
by Rubinstein in a manner calculated to touch
every heart. Every light and shade, every nudnce
OF expression and the wondrous beauty OF those
triplets stood forth revealed, as they did seventy
years ago In the teeming brain OF the composer.
Then came the 8-4 time allegretto, about
fty bars OF an expressive Introduction 20 the bril-
liant presto agltato. which was heard for the first
time In its true spirit. Nothing could be q more
complete triumph Of art than the impetuous rem
dering OF this movement. short pause ensued.
broken by song by Mile. Ormeni. called on the
programme an aria of Handel although we never
knew before that 'Una voce POGO fa," WAS at all
connected with the composer of 'The Messiah"
and a couple OF characteristic violin works, su-
perbiy played by Wleniawski. Three piano works
then came on and they were gems.
old one oS ps kaew s
we'll how to compose, and 1t was q tdbit of deicacy
and poetry. The "Erl King" and the march from
the Russian pianist. followed. and so great and 80
persistent was the applause that The rugged
one OF those rare things that seem so foreign to
Rubinstein-a smle-the pianist actually re-
sponded to the encore. The second part OF the
programme had one commanding feature, the
colossal sonata for piano and violin by RubinStein.
1t Is in four movements; the first grand and i'm
pressive and aboundng in enormous technical DIFF
hcultes and In Beethoven style Of treatment; the
second cherzo OF quaint irregular measures, the
rd we o MoSaf rcr n beor onS E m s
triSate passages IN which Is dimly seen q,
Titanic subject, like the turret5 OF an old castle
in the hurlyburly OF hurricane AS might be ex-
peoted from the composer, the violin occupies q
not the opportunity one would wish to display HIS
graceful finished style In this sonata; but the IT.
al well be called plano sonata with violin oo,igato
AZ sonata for piano and violin. But the leading
spirit in It was Rubinstein, and he carried & or all
must be heard often to be well understood, and the
audience cannot GRASP at ss bearing If a
snse'fs sSss s "nh &ha8 ' shiG Gs pfeSs ss Sas
opdsP RRufs Is work MYTH n % sfst ss 5ss sfs S@
educate an audience up TO the highest standard 0i
art 1t is mistake to say that nursery dities and
dance tunes comprise popular music. The best
classical works can become popular as "Cham-
payne Charlie" or ''Shoo Fly,'' and Rubinstein,
with his severe classical school, Is gradually work
Ing his way into popularity We have heard many
persons express doubts about the success of the
Rubinstein concerts on the score that the music
was too classical for America. What is the real
result The attendance was better at Saturdays
matinee than during the first three concerts and
now there Is q general feeling among the musical
public to hear and receive instruction from such
genius. Mile. Liebhart on Saturday sang little
lied by Mendelssohn. A grand concert will be
given tonight by the troupe at the Brooklyn
Academy Of Music, and on Tuesday Rubinstein
plays again In Steinway Hail.