New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-12-04
MUSICAL COMMENT.
THE NEW POLISH PIANIST.
MR.. BuRMEIsTER AND cHoPINs SECOND en-
cERTo-THE FIRST SUNDAY CONCERT AT TIN
METROPOLITAN OPERA HOUSE.

X.
cERTo-rHE FIRST SUNDAY CONCERT AT TIN
METROPOLITAN OPERA HOUSE.
There was revised programme" at the secosa
concert of Josef Sivinski Saturday afternoon
and also revised programmes for the rectals which
he is to give Tuesday evening and THURSDAY
afternoon. The revision of Saturdays programme
reduced it's length by three numbers and the same
purpose is obvious in the other revisions 1t NAV
be said, without claiming too much for the news
paper reviewers that the action Of Mr.. slvinsh
or his manager was in obedience to their sus-
gestlons the day after the first concert. Every.
body knows that the reviewer is generally wrong
but when he takes hint from the audience he soma.
times manages to give utterance to whisper Of
the divine voice. When large fraction OF an
audience leaves a concert-room before the pro-
gramme is two-thirds played 1t is proof either
that the performer has failed to please or the pro-
gramme is too long. 1t would not do for any
management to confess the first proposition; we
credit Mr. Palmer with having recognized that the
public do not want to exhaust the literature OF the
pianoforte at a single sitting. II they are much
impressed by the genius OF a player they
afford to hear second concert, or even third
The tendency illustrated by Mr. Slyinshs first
two programmes is a growing one, anu is an ndi-
cation OF a change which was long ago noticed
by the discerning 1t Is the outcome OF that dread.
full thing for which the newspapers have been
tuosity." The pianoforte having become thing
OF rigid steel enduring Of strain from it,
strings and having voice Ike the roar Of many
waters players upon it have become athletes with
''Thews of Anakim
And pulses of Titans heart"
They care no more for sweet murmurs made to
bless unless in the way OF contrast but seek to
astound, amaze. bewilder and confound with feats
of skill and Of endurance. That with their deyo-
chpnf Cal = a
are likely to Kill pianoforte playing Is something
they never seem to think of, or at least to care
about. The which they illustrate ana ADORE
Is the technical which was, Is and always VIII
be in saecula saeculorum the era OF decay and
death in true, artistic production Recently in
Berllp Mr.. Rummell real devotee 10
good art but as Il player wanting in charm
OF expression compelled by the bent OF
his nature to lift the physical and intel
lectual elements above the emotional Played three
planoforte concertos at a sitting His purpose
doubtless, was to compel professional and popular
attention Mr.. S!ivnskis attempt on last Thursday
evening and Saturday afternoon was OF the same
nature Primarily It was designed to disclose the
extraordinary character Of his physical powers as
developed In the technical department or piaholorW
playing secondary. it was to make record.
The disclaimer which will from the player
may be indignant couched in the terms or IN
iured innocence and modesty but the impression
not as il his aim was to speak as knowingly, as
truthfully as eoquently and charminsly az
possible, the utterances Of the composers OF 'he
music We can well believe that II 1t were possi'
bic he would be willing 10 emulate the example
of n flute player of ancient Greece, Of whom 1t 10
said that he his greatest triumph by playing
a piece to the end with great brilliancy AFTER ne
had los; the mouthpiece Of his instrument through
too vigorous blowing Exactly how this was ac-
complished the ancient chroncler or the ihcideht
neglected to mention, but his story can be accepted
as veracious if for no other reason than that It
throws a strong light on the decadence of the
public taste in the period when 'virtuosity became
dominant in the art of the Greeks. Now, though
the public of NewYork and to-day are little prone
to admire technique for technque's sake beinS
only human after all. they have been Kept 50
familiar with its development. by its best eXem-
mars that IL is no longer easy thing to sartie
or bewilder them
Every pianist has technique no%adaysb o say say
they and be he erta Pc by dsai
feats. They want strength ana yel2cy oi r nas
traton of thought; they want no hating or lspns
in the proclamation Of what the compost ,hounhs
presented to them; not the hollow she'll, however
distinctly It's outlines may be drawn ,ney %sh onv
1t is because Mr. Slivlnski gives tnem 100 oi 'I,s
command their warmest admiration. For his me-
chanical equipment they must nave proper respect
though even here he mas h aGe ar e Times he has
misapplied H. His tone too often merely glitter
ing For crspness and sharpness OF outline ne
seems willing to sacrifice superior things, such al
symmetry and repose. IL,
At their best his tones are never saturated Win
loveliness of color and that ndescrbabe quality
which is the vehicle of emotionality. Many OF the
things which are possible through the mastery OF
technical devices he does marvellousy well, put
they present themselves 10 the CONSCIOUSNESS or MS
listeners as mechanical products So those sort
tones which Paderewski De Pachmann and Joseny
bring out by a caressing touch or the Keys, whicn
has the clingng tenderness OF n kiss; so also
his legato Both of these devices OF expressive ut.
hafra no of
and n degree that can never be overlooked by the
iudicous Ii may be. II is certainly much TO be
hoped that Mr. Slivins<i may compel modification
OF this Judgment when he comes to play his recitaS
but what has said above Is the general impress
sion left by his performances last Thursday even
ing and Saturday afternoon
At the Damrosch popular concerts Saturday At.
ternoon and last night Mr.. Richard Burmeister, or
Baltimore both interested and delighted the lovers
Of Chonin's pianoforte concerto in + by bringing
.rork vii q orchestral accom-.