The New York herald., 1876-03-21
ADJUSTMENTS.
ne. puLow's coNcEnrs.


The celebrated Prussian pianist, Mr. Bdlow, has re-
burned from long OF provincial concerts during
which he was popularity successful and drove the pro-
vincia critics crazy trying hunt up the proper
murica terms and authorities requisite 10 explain 10
their readers the classical works for the piano IN which
be appeared His Western and southern career was
diversified with of those peculiar interviews
which, in music Mr. B0ow alone can furnish. The
entertainment provided at Chickering Hall last even
Ing, before very small audience tOd Prob and snow
and rain interiering was entirely made up Of the
piano works of Beethoven. There were four or
his sonatas in the bill well known adagio,
with all its ingenious variations, the queer old
fantasia, opus IL and the fifteen variations theme
from the Heroic symphony. Tho were the
principal features of the programme The Pathetique"
considered by all the and biographers OF
the great composer tlnctured to large degree
with Mozart 10 this opinion we cannot entirely
agree. There evidences of the dawning
sf that musical revolution that made Beet
Aoven the musical Colossus OF the nineteenth
century. 1t Is noted of his earliest works,
but even the old fashioned harpsichord he has
written few better compositions Mr. Bulow was
lirely at home in this wonderful work, dedicated to
Prince Carl Lichnowsky one OF Beethoven's friends
Aud admirers in Vienna the Sonata Pathetique became
from the beginning one OF the best in popularity of
the masters piano works Bulow showed his inter-
pretation OF this grand work, what sheer in
tustry, united to real talent can accomplish.
ia the Interpretation OF a Beethoven sonata In the
bddgo, with variations, and the glorious variations
With fugue on theme OF four bars from the Heroic
ympnony. Mr.. Bulow achieved positive triumph In
Ihe two sonatas, opus y, numbered and :, we
accord the same praise to Mr. Bulow The lrst
which, like its sister. (The Moonlight) has much OF tha
tenderness and poetry OF the other was given with
electricity OF finish and breadth of sentiment
that brought out In It's best light In
the sharp minor sonata the mechanism
IL regard playing OF the notes faultlcss.
But Mr.. Bdlow did not communicate to the wonderful
movement that introduces the work the poetry and
sentiment of which II is capable. In this movement
hcre should be tone poet at the piano. Every note
should be woed, should be caressed Seldom hears
mo movement 1t should be performed Never can We
orget Rubensten when his nngers seemed kiss the
keys this quintcssence of piano poetry. The
last movement taken entirely rapid a tempo
BY Mr.. Bulow Ii becomes lndistinct IN OF Its
most important features. When considers that
this sonata dyl born in the very nmost
OF the heart OF the composer IL is impossible accept
The eccentric Interpretation of Mr. Buow. The sonata
ppus ll0 in fiat, not OF the popular works oi
Beethoven; but it was superbly played by Mr. Buow
In the opening movement moderate cdntdbite motto
pressipo there quick and ready appreciation OF
very phrase and high intelligence shown in every bar
rhe second movement allegro motto and the succeeding
addgo with ITS strange yet melodous theme, and tho
concluding fugue not quite OF the Bachian order, but
nashng and brilliant throughout, gave Mr. Bulow an
opportunity display his Beethoven piano powers to
The best advantage His playing OF the iugue
TeouS Every note was struck with such precision
md the parts glided into each other admirably that
Tor American concert audience felt like
ing fugue. Here Mr. Bulow made genuine success.