National Republican., 1883-02-06
MUSIC AND DRAMA.
THE FAELTEN PIANO RECITAL.


THE FAELTEN PIANO RECITAL.
The piano recital given at Marini's hall
last night by Professor Carl Faclton, of the
Peabody institute, was artistically mori-
torious The selections were judicious, en-
bracing characteristic works of Beethoven,
Chopin, and List. The first number on the
programme was Beethoven's truly splendid
sonata, opus 3. This sonata belongs to The
last of the three periods commonly assigned
to Boothovens genius, the time when, having
mastered the whole science of composition, he
INDUCED his poetic fancy and produced works
full of the tenderest sentiment and feeling.
As n compensation for the stupendous techn-
cal difficulties Of this sonata, it is SO full of
noble aud striking effects and an exquisite
harmonization that it not only awakens but
maintains attention. Prof. Faelten judi
ciously chose this as his piece de resistance by
which his artistic scope could be estimated.
He interpreted IL with breadth of phlasing,
large and manly style, and q tone-color as
vivid as it was admirable. He took the time
considerably faster than is usual, but this is
optional, and according to the degree of ex-
pertness in the player.
The Chopin numbers were less successful
in the highest artistic sense, as the case inva-
riably is when Chopin's music is played at
concerts. Chopin, who is the Heinrich
Heine of music, is essentially the composer
for the drawing room. Although Prof.
Faelten possesses not only the power of the
elbow necessary for Beethoven, but also tho
| fine finger play, his style, like that of many
| good players, is too robust for Chopin's quaint
and sprituelle delicacy. The fortissimo is
rarely to be met with in Chopin, yet Prof
Facltcn uses it as freely as if he were playing
Beethoven or Wagner. The third number
was from List and Prof. Faelten wisely
avoided the works usually played by prolcs-
sonal pianists, who study to astonish rather
than charm, us Lizst himself has been FIRE.
quently charged. He played concert
study, which the master condescended to
call an "armonioso," in which he
left off the bizarre ornament and slight
of hand tricks with which he has fre
quently dishgured his work. The performance
of this number was fur superior to the Chopin
selections, and not inferior to the Beethoven
sonata. Prof. Faelten concluded with the we'll
known "Rhapsodie Hongroise, No. g" which
he played most charmingly and with We.
locity and electric touch that cannot be toe
much admi red. Miss Douglass sang two se
lections, one of Schubert's songs and one OF
Schumann's. She has IN ezzo soprano voice
of considerable range and power, but her style
is amateurish to the last degree.
FoRDs-MIss MINNIE MADDERN.
Minnie Maddern may be credited with O
personal rather than dramatic success. Hei
audience of last evening was not only large
but kindly disposed-as any audience mus
bo toward so young, SO very pretty, and so in
genuous en- actress. The play is several de
grees short of what might be wished. Anun
kind person might describe it as rubbish. II
will be succeeded tomorrow evening by an
other.
NATIONAL THEATER-THE voKEs FAMILY
The Vol:es company began weeks engage
ment at the National theater last evening
with IL performance of "Cousil Joe" ant
"The Bellies of the Kitchen" The announce
menU of this bill had served to draw u yer.
large audience, who spared no means whereof.
amusement could be expressed. "The Belle
of the Kitchen" though bit aged, and les
funny than when it was new and before othe
and perhaps better things of tho same sort ha'
been seen, is still rolishable piece of foolery
The best feature of the evening was the worl
of Fred and Rosina Yoles in "Cousin Joe'
This admirable pair so at these parts with {
degree of lifo and quality of humor, il
view of which they may be pardoncd fo
having curtailed and warped the text.
more thoroughly good piece of farce ACTIN
tl,on tbnt of Mr. Vohpa in tha choracter n
Joe is seldom if ever to be seen.