The sun. [volume] (New York [N.Y.]) 1833-1916, 1876-11-23
lMJSEM LNTS.


TN luosday AFTERNOON the tair kusslnn
who came here so much a stranger and so little
known even 10y rouute, but VINO HAS 50 quickly
won her place in tho esteem OF all vino have
heard her. commenced the second week q her
concerts playing a sonata bv Beethoven. Lisli's
bnausodio' No. :, and number OF lesser
compositions. and at her concert Il last evening
giving still other new pieces. among them fan
tnsie by Chopin and Llszt's arrangement from
Nerdi's Rigoletto.
The oitcner this lady is heard the Deeper Il
the IMPRESSION OF her power. IL is not unusual,
III referring to WON q who asserts her u inns
to take rank in any branch of art. to assume a
certain indulgence for her by reason " her sex.
But Madame Essipof needs no such favor. She
stands among the foremost representatives. of
her art. challenging comparison even with the
strongest Of the stronger sex.
After all. where absolute mastery Of the me-
chanical difficulties Of the pianofortc has once
been attained. the question between one player
and another resolves itself into n question of
their respective mental and spiritual character
istics-of their Intelligence, sentiment poetic
fancy, passion, refinement, and many other
qualities. 10 attempt to sit in judgment upon
these faculties Of great artist Il a bold. or
even. perhaps, an arrogant thing for the critic
TO undertake but it is at least his province to
Indicate which Of them seem to be the most
prominent, which, II any are lacking, and also
to suggest the point OF view from which the
pianist looks upon bis art, without presuming
to say absolutely whether that point Of view is "a
true or a false one.
For example, while Rubinsteln was a great
artist. SO also is > adnme Essipof, and yet the
two would perhaps play any given COMPOST
tlun IN entirely different ways, according TO
their respective temperimcnts and e Il Of mind.
VINO -lill say viii ~ OF the two diverse WAYS Is
the ii-ht one, or even that pOtn are not rightr
There Is THIS difference among pianists. ono
class makes a POINT Of rc1dWg IN, a. the Ger
mans say. their own personal crptions into
tue composer = works by all the manifold de-
wees OF the pianist's art the mn, M cvqn sur
charge the WORK with expression, emuhaAizing
every point 10 the utmost limit making abr III
changes ia the time. aud throwing a
sentiment aud intensity into the conf
position that gives It quite anotner form
Of the auditors, and makes them restless
with the douot whether the, are to 10 trins-
ported with new aud pr found iuterprctatiln
of q fayorite piece, or puzzled and disappointed
with q re ding as unin elligi uie Us - novel.
To this school of c centric players NJ dame Es-
sipJn does not telong. but rather to tnat con-
tra-tcd oae which. II not highly poetic. Is never
n fnl aud ecc nlric. sac isa steady, reliable,
anu even PLAYER, and IN all her work shows The
most sOlicitous regard tor whit may he called
tue best STANDARD accepi ,tiOn Of ner author.
without any attempt 10 give. between the lIuOs,
&c purely sutj ctNV coloriug. which. no. bein.
evident III tue text, MAJ at least he oucn 10
question.
1t wac in this school tina. Won IGlow playod,
tiough his INTERPRETATIONS were never 90 salts
factory rs tnose 81 Mad me EsslpOh.
within Tue limits 90 what We "a yo allied the
stand rd Interpretation her technique Il perfect.
No device OF sna4iug, iu'hasis, phrase, accent,
or touch is lacking To give the most hliaut ana
compete reading Of her author. Ciearness Is
one OF her CuardctCflstics-t clcarnt. Tia {
comes not only from patient work tout from a
nervous selI.cuninand which lctbi.s nuw, or
uncVenness and lends To hes rapid pass. e Il
velocity ana precision. united with am exquisite
! gfauiuou "a tone whllu lsMind Ols 81 the
hish and gitteroi striugoft rering di muhds.
Her force Is that OF tenp,ramrnt and 'khi
ratner tnnn pAy iqlc-.ho n,ry'u.. snaucB
| hands md wrist, 60 all lhe work. White her
| shoulders aud upper arm re ,4MOst tIOti ule =.
! In heavy Passage Of Ia sod chords especially
| ~ her o-ss' sue never MIKES them IN the tuuu-
! deious murElur wuiCA doc OItv OrcuOrds with
! ordinary PLAYER, but mdk5 every stroke with
ness extend into all trc finer dot.ilr II tull-.
| runs, ana cyaC Hts, Wh.cl anO executes with
| perfect grace and nnl-h, and az infinite shadow
! iu- X Of delicate piaui-siino tuu hes Whch atV
| sometimes almost lnaudiD.c back OF the 4o.--
| most benches.
J, stands 10 feason. from what has already
been said, thai her phrasry b. -4nipo aut re,
| ratatr tNAn seutimcutui 81 lanciiui. there are
! those who w'il hua her ui ing TO arl, poetry,
| and within ceg.atn definitions If Poetry DO
! PROB lh.y does. Bot ere are TlaGy $40 Wt,
p.cter The lcalfL.,r e. Tors Ia which sue ..Inis
! natura! one resiltet 10 10y certain "a. tIsgs II
the seutimcnal school. lt 10 sufficient tnat
under her hands tie ~ no sings with lie
| IKE cx, res.lon thlt ii the height u art and
tnut, with all as .imWieity ner playing has tn-i
| vitality. power ana large Intelligence thai ro-
| moves IL The iu thtzt possible FROM tue com
! moup'aDe. Her ten tranlent Is horou ghlN
ARTISTIC, ana set ~ 10 ~ N 10 Too hcai.nily and
! normandy N.-tfoI- tu tisl ~ much 90 thaf ntT
! VOu- sC.titiyehc.s aud i.teusity that is apt :,
| mari. tac purely lU.u-la1,Ne AID eu4.tioua
| artist.
As 10 Ter technique there can 90 NJ ~,
| opiu.Ons. No more striking Hlustrd tou oi a.
eA -cllence .ulc %, l4'ul. a. a b found A. 30,
| 90 mat owing to- "a " ouui rrcc ved ~ thc 80
| in-cr oi TIER eft hand on her voyage over, DO,
! W., practically reduced 10 tn use OF ture,
! nngers and the thumb Of tie ielt hand H. he
concerts Of - week, and set 50 perfectly IA,
size Ike these fuui nugors do the work Of Nv
| thut uOthing IA ter performances wa missed q
| blurred Or even uLLul ted.