The New York herald., 1875-11-25
ADJUSTMENTS.
HANS yoN BuLow.


The German pianist appeared last night AZ Chickerhg
nan assisted 81 Dr. Damrosch's orchestra The con
.a, .as entitled usouyenir or Anton Rubinstein y
!, yas a graceful tribute the genius OF a
t,o,ber artist Even ID the world Of music envy,
,aalousy and bad feeling occasionally predcmnate ana
a IL pleasant 70 and an artist Ike Baow Willing 70 do
homage 10 such representative composer and piano
nlayer a. Rub nstoin He played the following works
of Rabinsten. Third concerto IN q major opus 40;
rreude ana fugue opus SO, No 3, dedicated 20 Hans
von Ba0w barcarolle IN A. No. A and False Brilante
In dat rom lie Bal The concerto was, Of course,
me eAeral ae bafaie Of the Rubnsein programme II
Is probably the most characteristic piano work writ
len by one who now divides the interest Of the musi-
cal world with Liszt The opening movement, allegro
moderate, in which the orchestra behaved very
BADLY. IS a formidable task for the pianist
rhe piano has a series Of declamat0ry and at the same
.me bravura passages that call for wrists Of steel and
aigh intelligence in the rendering Both requirements
we're supplied by BGlow There were times when
he rigid discipline and wonderful memory q
the pianist at fault, and false notes
came IN frequently But even the composer
is subject TO the the performance OF
his own works The tremendous difficulties 10 regard
TO technique (mere chid's play beneath The trained
fingers Of Bnlowl and also n regard 70 phrasng ana
expression more difficult than Bdow can aecomplshl,
prove that the first movement ot this concerto is
The 1nilate a very eccentric movement was given
in the most delicious manner SO was the succeeding
Ada0to in major, IN l2-S time, forming q very
beautiful contrast the preceding theme. The bass
notes for the piano IN the following part Of the move
not satisfactory IL seemeda as the hammer
struck wood instead OF strings each time There
response TO the Titanic touch ol the pianist The
GLIDING movement ptcdces sort OF Iarantelia-ike
rush difficulty after difficulty in technique being
brought into prominence was played by Buow in the
most dashlng manner. Here he showed his indlvidu-
ality as brsvura player The prelude and iugue
are very weakly and aimlessy constructed They
were played, however in the most finished manner.
The Barcarolle a very delightful work encored
and certainly the superb manner in which II was
played deserved such recognition from the audience
Here, again. the hngers Of the pianist were not always
trustworthy, for many false notes were given by the
left hand In OF the most important passages The
principal waltz the fourth Of the ten numbers COM
prsing the Ball Fantasia was played 20 perfection
by BaRw II is poetcal work, and requires for its
Interpretation tenderness anu deleacY ol treatment
IL IS Nayward ana eccentric ID every phrase, aud no
one, except a fellow student, admirer and intimate
friend Of the composer could have rendered il in the
effective manner Ia which BGl0w played II last night
Although the programme devoted, as Hans Won
Bnlow wished 10 his friend brother Rubnsten,
yet the inevitable Liszt came as a concluding fea.
tnre Beethovens well known sRuins of Athens Z has
been given le this city by Dr. William Berge when he
conductor OF the Menlelssohn Choral Union, and IS
familiar 10 the majority Of concert goers. Liszt has
written fantasia on H. which embodies the principal
features Of the original work. There is nothing par
tienlarly interesting in this piano transcription. The
feature. 1t gave Blow opportunity to
show IN what magnificent style he can play
the piano works OF his celebrated father n-aw and ear
est preceptor. In this music he entirely at home
Diicutesin technique, which would other pan
ists we're overcome by him with an that
tonshng He phrased the motives only great
artist could do and the brilliant passages sprang
meath his inspired touch If the Abbae himself
present IL was performance long TO be remembered
by every musician present The hall about
twothirds full and the audience was largely composed
OF musicians. The hall is exceedingly handsome in
appearance but it has faults First the means of
exit very limited, fifteen minutes being the time
from the orchestra to the street. and in the place
the seats close together that there is much in
convenience experienced by late comers TO the
cert. change IN the parquette chairs would be de-
srable aso SPECIAL entrance on Eighteenth street