The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1877-05-03
ADJUSTMENTS.
NINE. xss1poYY AT srxrxwAY HALL

NINE. EssIpoYY AT sTEINwAY HALL
Nine Essipoc gave her second Chopin programme
las, night In making her selections she travelled
h,e out OF the usual lice OF pieces, thai 10 those
who only know Chopin from hearing him played In
concert the greater Of The concert must nave had
The charm Of novelty added 70 ns other atsraesonA
The programme was-Fantasie opus 10. Chopin; noe.
turns. minor. opus 81. chopini prelude opus 2 No.
Is, Chopn prelude, oDrs IS No q, Chopin; prelude.
opus Is, No H. Chopin; etude. minor (posshumoush
Chopni etude, opus Is, A minor. Chop.ai mazrrka,
opus ID major Chopin valss iposthumous,. Chopin;
boero. opus 20, Chopin; poonaise, opus %. No n
nat minor, Chopin: scherzo, opus 49, sharp minor.
Chopin.
The faniasie, op 10. IL DOT very frequently heard,
partly no aou5L on account OF It's extreme difficulty
partly also from the lac, that does not so immed'
asey appeal TO the popular OF his other
works 10, however, very interesting work.
Though free. iantasie has right be. Il BY
means formless: the grave and majestic Introduction
leads BY a long accellerando TO An allegro IN rondo
form, full Of difficulties, some Of which are rather
thankcss as they do not produce effect sufficient
TO justify their awkwardnesa But for Mime. EssipoT
these difficulties hardly to exist. and We list
ened 10 the fantastic with 3 comfortable assurance
thai oil would be right; and banishing the thought
OF the technical difficulties from mind. enjoyed
bne WorK Tor ltH musiSal excellence. Tno uocturne
which followed this number a complete contrast
to- Here we had simplicity ana pathos, Invested Of
any attempts At display OF execution; might almost
| be the complaint OF . single soul, uttered uncon-
scously. The short motive three fats, Of organ
like chords (which forms the middle movement OF this
nocturne does not disturb this idea; It Is only
though the voice. silent for bret tme allowed tho
ccaseless harmonles OF lie 10 DO heard until again
speaks. The first OF the three preudes immediately
following bears In character strong resemblance
nocturne. II Is TOO we'll known need detailed
| comment There Is hardly sentimental boarding
school pianist who has not drummed IN spite OF
! It's signature Of nve nats We suppose Mme EssipoG
put the No. q partly because OF relation In
key II Dat, the relative minor Of which has
signature the preceding prcludc partly
the unresttul feeling produced by ;ts continually sop
] aratng MIDDLE voices disturbed the meditative
| character which In melody u has IN common
with tho swo preceding numbers Of her pro-
| gramme, and 90 prepared the mind Of the hearers
| for the restless ana broken No. 10 I'm naD
which followed q The succeeding etude lposthu-
nous IN MINOR numbered ~ OPP % IN The vaimer
editions, is fne, though short, specimen Of Of
| Chopln's Cavorte and peculiar effects. From begin
agains. the common time Of the LEFT hand yhese two
temp were by Nine Esspon kept each ~ distinct and
"a y
mencement OF the theme proper on fraction OF boat
bong exact IA its sub-division W. think, however,
study In she key from op IS, which illustrates
the same eject Of double tempo lopy in this Is
slx-iour IN tho ef hand against twelve-sght IN tho
right and u really . more interesting composition
The 6tude on rs. 4 minor was omitted. The mazurka
op. So in minor tho 6rst Of the three comprised
under this opus number and, in our op,nlon no, The
| best We infinitely prefer the last The opening OF
s nsm. ssn . ana
aiterward IN O. has always seemed TO- Us
unworthy Of the commencement and no: 'as all In
harm vvtth hit hA 6nAc ne0o
amends and with his page and hall OF double notes
Tor the right hand, gave Nine Esslpon nne chance
The poslhumous waltz following this was the least
| Interesting number on she programme, and We have
OF Chopins earlier wrisines and purp0sey withheld by
him from publication. How unjustiy kind our friends
O 0os1
haps. than IN the case Of Aendclssohn, whose
rejected writing, .ese a, ru.n.ssy pulled on. Of
did The himself had well knowul anything like JUS
his genius and skill The ..Bolsro" Of Chopin
works 81 his vhish are not ssiacss.,y known. il
commences vmn An tasreaucsea N major, three
eight time. First three forsissmo octave G's;
there is Of tripcIs for the right hand land
ing US In . tender half regrcful melody, which, In
the .Bolero" ITSELF IN MINOR. THIS :.Bo.1 ";S
10 thoroughly traditional IN character, except In
me little subsidiary theme IN the trio. whore Chopin
tor some few measures completely himself This CON-
position should DO played by our pianisis much moro
present as many OF Choplns nearly unconquerablo
dficulties most OF ns writings. The poIonaise In
fiat minor top 20 No. ~ with It's peculiar commence
nent of alternate accelerando and rtenuto and
ceoding passionate melody, was a great favorte with
good amateur piansts here years ago Lately IL
has seemed TO have been forgotten and have thank
Nine. Essp0H Tor reminding US OF work somewhat
neglected but far to tine to DO forgotten Tho remarks
made about the technical difficulties OF the Bolcro
apply with fuller force TO this polonsisc; there
are none OF our good amateur pianiss who could not
easily bring under command every passage In tho
work. The sharp minor scherz0 made excellent
ending to an interesting programme This one OF the
least known scherzi OF Chopin. Tho one in Is HAT
minor Is thumped out by every ambitious
piano student, and that In minor
brought prominently into notice by the fiery rendition
OF IL gwen by kubnsten during his concerts here.
We hardly think this scherzo will over become great
favorite with the general musical pubic, and
rather astonshed that Nine Esspo did not choose the
other little played ono in major, op 81, which Is both
larger and liner composition. Doubtless. however,
she had excellent reasons. The audience was
large and attentive Chopin, as played by NINE Essi-
pot, is revelation even to those who know him well.
We remember 10 have heard that only the
Russians and Poles can play Chopin's music as It
should be played aud since hearing Nine. Essipof wc
are willing TO subscribe TO that doctrine His surface
meaning many players have given each with dit
ference impressed by their own individuality but his
heart no ono has ever before shown Us. Had Nine.
Essipon done nothing here but hcr two Chopin recals
in this series she would have stamped herself PLAYER
OF The first class, and when remember that this
only one side Of TINS many-slded artist we have TO
knowledge In her not only talent and techn zeal ski
but genius We again remind our readers mat these,
EssipoH's last recitals. rapidly drawing 10 cose
and again urge the musical portion OF them not to
neglect the few chances remaining OF hearing
studying this great pianist
MUSICAL AND DRAMATIC NOTES.
Ole Bull and family will sail for Europe the 18th
ins ard the 1lth his friends In this city will
pment him with testimonial concert
The rehearsal Of Mr. Jerome Hopkins new biblical