New-York tribune., 1885-01-16
MUSIC.
NINE. HopEKIRKs CONCERT.


The artistic sterity of most pianOfOrte re.
ctals which Is the portion OF the persons whe for va
Gus reasons paronize then long ago revenged itself on
the gvers OF such rectas by consortDg with financial
unproductyeness. The consequence has been growing
nfrequency OF this class entertainments At present
recas usually given only by teachers as advertising
mediums This il the rule; it Is pleasant to be able to
record IN exception In the OF Mme Helen Hopekrk,
who gave the first OF recals projected for this
season at steinway Hall last night The pleasure In
this case comes from the fact that the exception extends
also to the proposition first adyanted. Nine HopeklK
has an artistic equipment which enables her TO make an
hour and half OF unrelieved pisnoforte playing inter-
esting to people who love music She commands rtspe
at the outset by obvious Observation-Disclosures and
her complee aevotonto the business hand; she hold
the attention afterwsrd by many Iroois OF music&
scholarship and by her intelligent sometimes original
and n not always unmpeachable. at least interesting
readpgs She had not been heard in public since the
first of Mr. Van der Suckens Novelty Concerts, early In
the season. serious Illness having ntervened ana COM
peled postponement until next month OF the PERFORM
ance which we had hoped hear connection sh the
Brooklyn Philharmonic Society Now that she has again
entered tho lists Is TO be hoped that she VIII receive
the measure Of encouragement and approyaI which sueh
Te-inrentioned artistic efforts as hers deserve.
Mme Hopekirk's programme last night was designed
TO exhibit the traits which ought TO be found In an oxecu
tive musician although 1t not severe test as
important number Bcethovens sonata, op no. the
last but one OF the which the composer said fare
well to the panoforte These last sonatas like the last
auartets have long been bone OF contention among
musicians and critics. Whether they are merely tho
ysgaries OF great mind overstrained and almost dis
raugh robbed OF the OF beauty by long esange-
ment from lie sensnous manifestation or the lofty gate
WAYS TO new and magnificent regions in the realm or arr
has been much debated On point there Is no ques-
ton: they all difficult to play aud exact qhaiities
that are rarely with In artists or the highest
rank. They the battle-horses OF Won Butow, VINO
sitting from memory We scarcely give Mms. Hope
kirk credit for than reyerental ana technically
clear reading OF the she essayed. She played ron
memory and adhered with praise worthy fhiey TO the
text but there Is much wider horizon OF emotion.
greater poetry in the aoso and fugue than she
protestlny merrymaking IN the second movement
the normal OF her sentiment here as In
the other pieces Of the evening was lauaable; she 10
manly without being mannsand never becomes weakly
sentimental This shown by her performance OF
Uenselts Berceuse [" and Mendelssobn's " Riy Iet
The programme was generous with uansciiptions.
Alter the opening number. Mozarts @ Minor sonata
playcd In broad style blurred somewhat by ire.
auent loud pedal there were studies on two OK
Mendelssohn's Songs without Words. Hat MAJOR
No l op. 53 and A-major, No. OF op. 62) Dy Z Y
Ducken The studies pretty but the beauty oil the
originals makes tlem superhuous. Besides, We had
Ueers transcription OF schuberts foreie," LlsZCs
transcription OF the same composers Morgenstana,,
chen" and Iiszts arrangements OF the romance ana
march from aTannhanser." The contrast between ire
treatment Schubert Lszt and Heller could scarcely
escape notice In the we found the poetry OF
the song retained by mastery OF the otir Oh he
accompaniment; in the other il was sspated