Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-04-07

Moriz Rosenthal.
o, Romance. Beethoven
'-'''- Fritz Kreisier. '''''' ''N-A 'A-
HeXamerOn, (Dy request.
.Liszt-C Chopin -Thalberg- Herr -Caerhy-
Moriz Rosenthal.
AIRS husses.'.'... Wientawskt
The programmes should have given some
hint of the fact that the piece ascribed to
Rosenthal was but an arrangement by him
of Davidoff' s violoncello piece by the same
name, and that Chopin's "Chant Polonais''
was played in the form given to it by List,
with further figuring by the player. Also,
how came the familiar Liszt tarantelle be-
ing No. 8 of the '..Venezia Napoli-which
in turn belongs to the important group Of
pieces entitled Les Annees de Perlerinage-
how came it by the name Fantasia Itali-
ennes?" It is pity to have to make such
corrections on an occasion of this grade.
But worse than incorreotness in form was
the deficiency In subject-matter, especially
on the former programme. It was exceed
ingly short-about an hour and quarter,
with waits and encores included-and it
made no pretense at representing the varl-
Gus schools of composition for the piano
The meagerness Of both programmes was
the more noticeable in view of their In
cluding several selections that had been
given on the previous visit to this city.
While the "Hexameron," with its various
twistings of the familiar 'Puritani" duet
has enough interest for the student to war
rant its occasional performance, its repeti-
tion on successive evenings was decided
mistake.
However, in spite of DEFICIENCIES, these
programmes were well chosen in one point
of view; they displayed to great advantage
fho1' 1'o cfr faah NJ L.
best side of his musical intelligence and
feeling. It is, perhaps, better for player
tacitly to confess his limitations by omit
ting the composers he interprets inadequately
than to put his shortcomings actually in
evidence.
Within the range he covered last week
RosenthaIs shortcomings are few, indeed,
his points of excellence many and varied.
Technically, his playing was on level
with the most brilliant achievements of
modern pianism. Dazzling brilliancy,
marvellous boldness and certainty, pearly
delicacy, and the utmost refinement and
polish characterized almost all he did. The
disagreeable click of his finger nails upon
the keys in heavy climaxes was the only
fault worth speaking of. His readings, too,
were in all points intelligent and care
full, while seeming to be the outcome
of true and spontaneous feeling. The
brighter, lighter portions Of the great Liszt
concerts were played here with more humor
and abandon by Adele Aus der Oha and
Eugen D'Albert gives clearer and stronger
phrasing of certain other passages; but that
mighty chord sequence at the beginning
could scarce be delivered more powerfully,
or the finale worked up to degree Of
speed and brilliance more electrifying.
The lack of orchestra was felt, of course;
I,,k 31a o1y Ia
piano by Mr.. Cuttings went about as far
as possible toward supplying its place.
Young Kreisler appeared to better ad-
vantage on this visit than before. His |
selections, while not covering the largest
scope, were sufficiently varied and interest
ing in the extreme. He is said to have had |
this time another and better violin-a Gas
par de Salo Certainly his tone was fuller |
and more workable" and the harmonies |
clearer and surer. The lad seemed |
more certain of himself, also; more |
completely master of the situation |
than before. In flowing cantabile meas
ures he manifested no little poetic feeling |
and in delicate ornamental passages-the |
Chopinesque figures of the Vieuxtemps
concerto, for instance-there were much re-
finement and taste displayed. However |
the not infrequent lack Of these qualities |
where called for and the general deficiency |
in brilliancy and power proved that the |
youth has not yet had time to pass entirely |
out of the chrysalis stage into the fully de- |
veloped artistic existence that lies promis- |
ingly before him.
~
The authorities of the NJ. NJ. P. U. seem |
at last to realize the righteousness of run
ming a so-called musical union with most of |
the city's real musicians outside of it and |
hostile to its policy. They have made, it is |
said, substantially this proposition to the |
musicians: That the latter may re-enter the |
fold regardless of fines and dues and that |
the present President Will resign to let them |
elect new executive and carry on the or
ganization in their own way. Committees
representing both sides are to meet to-day to
discuss the matter.
The DISPATCH is ever the friend of har-
mony, social and professional, as well as
strictly musical. But it is impossible to see
how any basis of settlement can be reached
between the musicians Of Pittsburg and the
M. M. P. q. as now constituted.
One of the parties is incompetent to con-
tract.
That is to say: The overwhelming major
ity of the present membership of the NJ. M.
P. U. have no business to belong to any
organization of the kind. They cannot
legally be put out, having once been let in.
And so long as they remain in the mu-
sicians cannot safely come back. How can
the musicians frame and carry out any pol
icy to advance the legitimate objects of the
union in the face of much larger number
of men who have no personal interest in or
of the issues raised?
A musical union must be composed of
and controlled by genuine musicians; other
wise it is hollow sham, mere breeder of
discord, utterly inadequate to advance the
intel ests of either profession or public.