New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1876-11-18

Last night, at Steinway Hall, Nine. EssipOif
added another to her list OF trumphs In Newfork-one
complete aud signal to be almost without precedent
in the annals of pano-playing. The house, too, was
better than it has been previous evenings-a sign,
perhaps that the public is beginning to realize that 1t
an artist OF very extraordinary merit that they
having an opportunity OF hearing and the audience was
surprisingly enthusiastic. The following programme
rendered:
1. Grand Concerto-G major. ...-...... Beethoven
2. Fantastic PastOrale (v'olin sOlol ...-... Prlme
8. Grand Concerto ;..-.--......-.-..H ensot
3. Grand Conoerto--G minor ..-...... Mendess I'm
IL was q very dangerous experiment 10 undertake TO
give three such works the three cOncertos In one
evenings the frs, place because they are all extremely
difficult and faguing, and requires pianist OF almost
superhuman endurance to do them all justice; in The
second because there few audiences which would
not become restless under programme composed OK
clusively Of what are often called heayy" pieces
heved by lighter and shorter numbers. The result
proved that Nine Esspo oyeresnatod neither her own
powers nor intelligence and good taste of her au
dience, which listened with unfaggng interest aud at
tention till the end.
The Beethoven Concerto does not belong to bis latest
STYLE and yet II is OF the most important OF his
larger works for the piano IT is full of charming
themes, some OF them MOzartean in character, with
many striking contrasts aud much Of sentiment IL Is,
perhaps the greatest Of the three works given last night
yet 1t was in respects the least satisfactory But
this 1t should be distinctly understood, was In no
sense the fault Of the pianist. She played intell-
gently, alphabetically, with fautess technique,
but she handicapped with an inefficient Or
chestra and with incompetent conductor who did
anything but help her, and who proved himself al'o
gether the wrong for the place The demands on
the orchestra very exacne snd the conductor must
he thoroughly familiar with the music and in complete
sympathy with the pianist, which was not at All the
case. Many OF Nine Essip0fs most admirable eiiccts
mich of the distinctive originality of her reading was
lost this cause aud yet with all this against H.
was a superb performance, maryclousiy delicate at
times again full OF warmth and living power. This
Concerto which seems 10 have been written by the
composer chiefly With view TO seeing how difficult
it was possible to make u, has its chief value III being
conclusive test Of technical power OF pansts and s
difficulties overwhelming that very few artists
venture to attempt IT, and most OF those who do fail
Yet when IL is properly given, IL viii always be popular
from It's suave taking melodies which are sure to be
liked and from the simplicity OF it, forms The wonder
full rendering of the work which DR. Bilow gave III
year stl fresh in memories last night aud
yet 1t cannot be said that this suffered az all by
comparison with 1t. II seemed though perfection Of
technique could 20 no further than Nine Essipos. Bril-
liant dashng. absolutely certain, her playing made the
seyerest difficulties Of this extraordinary work seem
mere childspiay. Nor was IL only in tits way that shr
showed her power She has strange, almost weird
power of producing the almost dssimar tones from the
piano. now brilliant and clear tho note OF trumpet
now soft aud mysterious the breath Of the Summer
wind, a touch sometimes OF velvet, some
times Of steel 1t though she were
playing not one instrument, but half dozen la turn,
eacu with a clear and distinct character Anything
more dar lily delicate than some OF her runs and
arpeggios we have heard and her shake is round
and full and even and under most perfect control in
point OF force Her phrnsng, like Won Biow's, Is
lection and 1t would DO well for any OF our singers
the best to hear she does it, and learn 10 what
popt the art may carried She not only makes her
piano sing but it is singing Of the very best sort.
But she was perhaps strongest in the Mehdelssohn
Concerto In both this and the Henset the orchestra
WAS better than In the Beethoven Concerto and the
work itself gives better opportunities fr the display OF
feeling and passion than does the Henselt Concerto
These she improved TO the utteDOst and the graceful
poetic thoughts Mendcssohn found fitting expression
And spite OF the trying exertons which she had already
gone through WITH her powers never tagged, and the
Finale was such triumph OF bravura playing
that the house fairly at her. Not
the least remarkable part Of the performance
moreover was the that she played throughout the
evening completely from memory, and without the loss
almost of single Indeed, size plays entirely with
ont notes and no pianist OF time. Rubnstein and
Won BOw alone excepted has large reperiory. IL
was certainly prOdigous feat Of memory TO give three
suc works as those II last night without having her mu
sc before her. and OF which very few pianss are
capable