New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1885-04-10
USIC.
NINE. HOPEKIRK's LAST RECITAL
.(Yonkers GazettA


With the conclusion of Nine. Helen Hope.
kinks series Of pianoforte recias regret tia for
nearly year this admirable artist will be absent from
concert She has contributed a not insignia.
cant portion TO the artistic dignity OF the musical season
which Is now drawing to close. portion, indeed that
stands universe ratio 10 the number OF times
has appeared before the public Her Illness the early
part Of the compelled changes be made In hss
programme and kept her OF during the period
when all the factors that make up a eagerly
pushing themselves into the foreground 1t also deprived
some OF her carly performances OF q OF the
efficiency which she had taught us to expect from her
Both circumst unfortunate for her and for
the rubic but for both gave rich compensation in her
last recital on Tuesday evening.
The construction of Nine. Hopekrk's programmes has
compelled praise from the beginning. There is always
evident In her schemes careful consideration Of the
relation OF pieces toward each other las TO tonaty
style and sentiment for nstancel and just apprecia-
ton OF the wants OF her auditors Her selections
always appealed refined taste. but in their arrange
she has recognized the fact that moments OF rest
OF diversion essential IL people
be expected ito listen arpreciatyey TO two hours Of
panoforte music. Her plan exemplifed beautifully
in her last programme. glance the list OF pieces
played by her at the rectas OF this season and lat
would lead one to the conviction that Nine. HopeKks
favorite composers are Beethoven and schumaDn. II
would be difficult to pick quarrel with her on tnas
score. beethoven anu Scuuuiduu we're Consequently
given the place OF honor In Tuesdays scheme; tue
Sonata Pathetique and the Grand Fantasia In OPP
IT. were chosen works, the first filling alone the
second portion OF the programme (Which was divided
four pars) the secoud with arahesque and I've
OF the Kiuderscenen to Introduce Ii, ing the third
Previously the attention had been fixed by Mozarts
Sonata In major 0he one with the graceful variations
and Turkish marchl. ballad by Brahms and two song
prescriptions by List Before wearueSs set In there.
fore aud when the proper feeling had been established
performer aud public. given the pieces
in which the interest OF the evening centred. The er-
celence OF the method was atesed by the success when
crowned the work. Nine. Hopekrks reading OF tho
fantasia the satisfying OF her achievements
this season. aectionaely Ieverentia and per-
meated with real etical feeling not as passoDatey
strong perhaps, the work can he made but warm ana
filed with the nobility which speaks from every measure
OF the composition. Mime. Hopekirk realizes the value
OF maintaining normal tone In her performances; she
does not force the instrument into hard unss mpaheuo
uterance from desire 10 appear powerful Ia common
fault among women players nor does she esaggorato
tender sentiment until II becomes sentmentality. az
Mr. Joseny frequently does. Sanity Is conspicuous IN
all her readings. and for this. among other reasons we
regret that the who studying the pano.ortS
I'm this city temporarily to be deprived OF Mime.
Hopekirk's example. On May she will go to Boston