New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-04-01
MUSIC-THE DRAMA.
HERR FRIEDHEIM,s DEBUT.

The circumstance that though Herr Arthur Fried
hem who gave the first American concert IN the Met
ropotsn Opsra House, conquered recognition for his
extraordinary ability as q panoforte player. did 80
aborously and gradually coming into his full estate
only with Ids last performances, is for several reasons
Interesting In the first place, II drew attention TO
the character OF the audience. which was quite ~
worthy OF study the artist whom IL had come TO
hear and Judge. 1t a notable gathering OF music
lovers and professional and amateur musicians scat
tered about in the boxes and orchestra chairs were
number OF psnists who Herr Friedheim is surely will
ing TO recognize as worthy colleagues. Franz Rumme
was there, and Joseny and Mills and Ansorge ana
Miss Aus der Abe and Mr.. Tnalen. besides host I'd
lesser lights. To them Herr Friedhcim was nc
stranger and they greeted him with marked AVAILABILITY
Better than the thousand Others who heard MN they
knew wherein his chief Xcellcnce lay, but not they
but the nameess thousands the Jury that gave ia
approval cautiously after careful weighing OF tne
evidence in the case. In view Of that fact. 1t was
perhaps admirable that Herr Fi4edheim cnose
for space to conceal the fact that ne Is
specialist in the field OF pianofore-phylhg'
He elected TO invite discriminating Judgment rather
than to compel wonder at the outset by display Oh
those elements in which his strength plainly lies
He played Beethoven's concerto in E-6at for his
first number and caused disappointment. In no
respect it great performance. Poetcal charm
was nowhere to be found in the reading and on us
mechanical side his playing was also denclent Iheh
he made second essay Wlln Il 81 Va PiSAuN~" "'N
studies by Chopin. Here he delighted the judlcious
by the brIancy and ucidity Of his work and caused
sincere admiration for the noble quality OF tone winch
he produced from the instrument; but again ne feu
short of expectation In the matter OF emotional
warmth When he appeared for the third time 1t was
10 display the side Of his artistic character upon
which, we are inclined to think, he Will nave 10
rely II he wishes 70 cope with those OF his pro
fesslonal brethren who have exemplied the art OF
pianoforte playing in American concert rooms IN the
course of the last few years-let us say dAIDert
Rumme Rosenthal and Josefy He played the
second concerto OF Lszt and introduced at
once an entirely different order Of play
ing The lIstlessness Of the Beethoven per-
formance cave place TO splendid ardor and
enthusiasm the sorority OF the instrument was trcbed
the simple clearness and calculated symmetry OF the
Chopin pieces were succeeded by marvellous freedom
and eloauence Of utteiance which rested, not in re-
Fiction but spraug fom something akin to inspira-
ton. lie another man, with new ideals, ana The
audience without stopping TO weigh The full significance
of the change now gave him overlooking measure
Of enthusiastic appreciation. Mendcissohn, speaking
OF jenny Lind, said that II was singular that se
for whom he had great admiration, always sang poor
music best similar thought was p9mp'e Sa, Oy gs
obvious enough that in the Beethoven number te new
not at his best The fact that ne was Delo
a strange public under the peculiarly trying clrcun-
stances Imposed BY the vastEess Of the audenceroo
plainly put constraint him which did not wear on
entirely until he reached the composition whlch LOT
long time has been enc of his war-hOrses In the
List concerto and the same composers slAth nun
oarian RhapsOdy with which he supplemented IL In
concerto, he disclosed himself as phenomenal Viruoco
of whom it will be pleasure to write at greater
Mr. Thomas and his orchestra supplied the accom-
panments TO the conccTtOs and furnished variety 10
Bach, Schumann's overture TO Genovera and some Of
DvOrakS slavonc Dances.