New-York tribune., 1896-11-18
MUSICAL MATTERS.

MUSICAL MATTERS
The musical season has opened with a v,,.
geance. Yesterday full OF music and IA
morrow Will tempt those who easy terma
with the English language. to use the comparatv,
form OF adjective which we have been told can.
not be compared. When the music is as good n
yesterdays vas. however. and the listeners 4,
numerous intelligent and apprcciatIve the tempta,
tion to complain Of an embarrassment of riches \
easily withstood.
In the afternoon Mr.. Rosenthal gave his first
recital I'm Carnegie Hall. He was heard by a spen.
did audence-fully 1000 persons-which included
practically all Of the city's musical notablities
The list OF pieces singular. 1t began with
Beethovens Sonata. op. 81. commonly called "Ap.
passionate" (tut without the composers SANCTION
and ended with Lszt's transcription Of the over.
ture to Rossinis "Wam Tell" eraser con.
trast could scarcely be magned-the former all
music OF the loftest idealiy, the latter chiefly
pianoforte effect designed to bewilder and amaze:
one voice from the inner sanctuary Of art. the
other echo OF the period of clap-trap virtuoso-
ship out OF which Liszt rescued himself when he
arrived at artistic maturity. Between these ex.
tremes came a miscellaneous lot OF pieces-ths
most familiar nocturnes OF Field and Chopin, Q
scintillant little Moment Musical with gypsy
tinge, by Schubert: variations by Brahms on Q
theme by Paganini which disclosed the new
technique for the pianoforte created by the man
who is not "arpeggate' enough TO suit some
faultfinders with his genius: mazurka and waltz
dn A nap by Chopin; Henset's Isl oiseau yetais."
and delightful cradle song written a pedal
point like Chopn's by Russian composer named
Liadon a romance by the concert-giver, and
Davidofs "Springbrunnen." To these were added
because the public would have more. a dainty
thing by an Italian writer named Boldini and
Chopin's A-fat Etude. The last piece was heard
by the audience standing the scene which became
familiar at the Paderewski recitals last year
being enacted after the marvellous player had
finished his programme. Besides all this. Mr.
Rosenthal was compelled to repeat the Chopin
waltz and the Henset study.
The larger share OF this music is Of the kind cal.
culated 10 bring Mr. Rosenthals amazing digital
skill into notice. and he again performed miracles
and wonders. 1t would be disngenuous to convey
the impression that there were not occasions to
question IL his emotional side has been developed
symmetrically with his technical and intellectual
The Field nocturne without charm because
OF the absence Of the legato touch. Each tone
was struck out, singulary round and full. BY
sharp blow delivered from on high. and the damper
pedal relied for the singing. but It 70
through contact with this key that artists com.
mand Of sensuois beauty OF tone Is published
and his sense Of poetic lovelness made manifest
II seemed too at times. II Mr. Rosenthal mis-
calculated some Of his dynamic effects. a danger
which his fondness for the damper pedal subjects
him TO. At least there were several pianissmos
that frayed out into silence yesterday. But the
player achieved a superb triumph, evoking an en-.
thusiasm which grew through the afternoon. with
the first movement OF the Beethoven Sonata. which
was warmly applauded. TO the obvious disappoint'
ment of the pianist. who wished TO work out an
effect that promised 10 be admirable by heighten'
Ing the dramatic feeling Of the tempestuous first
movement by sudden change into the gracious
and reassurng mood OF the middle movement Mr.
Rosenthals second recital will take place on to-
morrow afternoon.
One OF the loveliest attributes of chamber music
was exemplihed at the first concert OF the kneisel
Quartet. whit III took place in the Mendelssohn Gles
Clubs Hall lat night. Mr.. Knesel and his as
sociates are arisocrats In art. and they had tns
artistic aristocracy Of the city TO hear them Tne
best that New-York possesses in the way OF musI'
cal intelligence. sympathy and affection was gam
cred in tie lovely hall. and the trained skill OF the
performers paired with the trained skill Of the
listeners In consequence the evening was one OF
pure delight. The players set up the pegs Of en-
joymelt ut the beginning by a brilliant perio''
nance Of one OF Haydn's Quartets Gn d. op. g. NO.
81 with a rollickng finale. which seemed quite -
technics OF Rosenthal In the afternoon. yet wa;
perme"ted with the spirit OF absolute mus,uSS mStcS
pr byorsk has Se since his return
Europe M-nat major op S) The last pesss mas $.
ter were the quartet and quintet composed mere mere
which reflect the spirit Of American fok,sVns, fos,ns,
lntTo WAS u natural curiosity 10 JUSTLY
or not any OF this spirit had clung to his fancy:
The new quartet showed none Of H. The work
speaks the tongue Of the original Dvorak; so p pas
as II dscloses popular dioms at all they are ian.
guage and very individual The quartet Is spien'
did addition to the repsrtory OF the orsan1tes
played we shall not undertake to describe. Sucn
purity Of intonaton as marks their music Is oeu ns
cousness Of tone Is only to be enjoyed at Snet
concerts: -Four COLLEAGUES from the Boston H ZACH
and Schulz Joined them in performances OF Men:
delssohns Octet op 20 and again the i'stsns uisrty
and tonal iovelinsss Of the performance.
The season Of the New Imperial 0pera Gomps srs
now Announced. Tonight Andrea Cheners VIZ
be given Friday evening mLoSsnSrns. rm. and Sa''''
Miss julie Petersen. huts. will give coneert p
chickerinr Hall tomorrow evening with the help
OF Herman Hoveman, bass; ]. Pizzarelo. pisn~
forte. and Victor Harris, accompanst.