New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-11-20
MUSIC---ART.
p.nrprwsxps SECOND CONCERT.

PADEREWSkPS SECOND CONoD y.
Mr. Paderewskl Is nothing II not ge'erooS' ,,
IDENTIFY he credits the New YORK puohc wiz" IA :,
conocty for musical enjoyment, and also VIII" q
s,,onr nredi,ec,ion for the larger forms in music
rvidentIy also he knows that though our phDho -
Imnroonated with taste for the great coicertos' ~
also likes 10 hear solos. When his scheme as W us
second concert last night. Is MADE up Wildly VI ~
ortos for pIanoforte and orchestra another baho "'
often behaves as an obstruction Ils'e''u VI
helper there is way out OF the dlincuiV on.er'
nv throwing In the solo numbers rs extra picco''
:. g., on. Of the pcpales attached TO the setting up
a, such n nrocrammc but he pays it cheerfliy' Ills
cot numbers last night werc Beethoven's cohcer'o
In E-fat Schumann's concerto IN h-miho'' ,'
LISTS Hungarian Fantasia. TO these ho auu
IN response TO the enthusiastic recalls WHICH Ioio"o
them Llszt's transcription OF schuDerts Ii,"'ne'
schumanns "Traumeswrren," and Llszts secona nun,
oaran Rhapsody The solos were the sensational
Incidents of the evening" I'm which no fully manlaieo
himself on the dizzy height to which MS pa'n6 VI
Chopn,s music and his own concerto on Tuesday even
ing lifted him. 1t Is proper that this should Dc saia
plainly and with emphasis. lie Is so great an a'''
that he can endure the sevees kind Of an estimate OF
his powers and have his shortcomings poh'eu o''
frankly as well as his excellencies praised
There is no severer test for pianist In New YORK
than that provided by Beethovens concerto In tns'
Mr. Paderewsh submitted himself to that teSt' ara
suffered in consequence. He sadly Handicapped,
It Is true by the sluggishncss and impu1ty OF TINS WIN"
chois of the orchestra, but, nevertheless, thosc WIZ"
were able to measure his work on It's own merits co'i"
not restrain feeling Of disappointment IL hhsh' 10
urged that too much expected OF him, but In po'h'
Ct fact. that is scarcely possible. Mr.. PndercwsM
murt endure COMPARISON with the greatest Of his
living rivals. There IS no other stahda"-N
least for those who choose TO estimate Oy
comparison Applying this standard the performance
was a disappointment The concerto VII not pr"o~
resort to Fictitious devices; II must be played LOT ue
sake of its musical and poetical contents. THESE can
not be preserved II any of the ordinary pansps tficKs
are resored to TO catch the ears OF tho grounahgs'
Mr. Paderewsh preserved the high respect which nc
won at his first concert by playing tho concerto In
straightforward and honest For the marvellous
ly lucid exposition which he gave OF It's techncai
structure for the beauty OF tone WHICH lie hVoEed 10
his aid from beginning to end. for the splendid rush
Of his hand scale passages, for the cr)staiho
bulliancy discovered in the rondo lie nered hearty
admiration and he got it.. But after all this there
was wanting the noble breadth OF style and depth OF
feeling failing In which pianist can win the approval
OF the connosseurs of this sadly pampered community
with @ performance Of the socalled Emperor con-
certo In all that is essential he rose to higher
artistic plane in the Sohumann concerto, which he
give with that interchange of idyIc grace and manly
vigor which the lovely and POLITICALLY sane work dc
mands and when he came TO the Fantasia he resumed
his character as provoker Of bewilderment and com
mander of unquestioning and joyous homage III IS
idle 10 talk about the reading" Of such show
piece for the panoforte. Almost anything that Is
effective is allowable In it, and there was 1ustit-
cation for the most striking of the innova
tons introduced by Mr.. Paderewski-the use
of o decrescendo and pians'imo erect IN
the glssando passages of the final movement. Ills
performance OF the Erlking" naturally awakened
recolectIons of Rubinsten, and 1t was delightful 10
observe how much in the spirit OF the Russian master
be PLAYED this piece charming as much with his char
acterstic giving out OF the dialogue between the
father Son and elf Of Goethes poem as he amazed 6y
the stupendous performance of the bass figure MI
Damrosch made change In the programme OF doubt
full value when he substituted Wagner's "Waldweben
for the ScherzO from one OF Cherubnis string quar-
tets announced the programme Many in the
audience would have been glad to foregO the wood
winds and brass for u change.