The Jersey City news. (Jersey City [N.J.]) 1889-1906, 1896-11-18

| c~lapping, which brought the performer
back TO the stage again and again to bow
his acknowledgements.
sisted of a Nocturne by Field; Moment
Musical No. 3, Shubert, and Brahms
Paganiali variations. Mr.. Rosenthal car
RES a love of striking contrasts TO a
fault. He loves to put a crash of sound
in juxtaposition with an almost inaudible
pianissiino. If he can find a few simple
phrases in the midst Of a dizzy whirl of
runs and thrills, and broken chords, he IN
variably plays them with exaggerated
siowness. If the score affords a harsh
note. breaking a tide of liquid sweet
ness. that note is sure to be brought out
with strident emphasis. It Is a manner
ism and not altogether a p~ardonable one
in so great a player, who has no need of
pressions. But it win be observed that
even in the makeup of the programme,
the same characteristic prevails. The
nocturne and the Shubert piece We're
and deiicacy, while the Brahms selec-
ton partook of the technico-exhibitional
character Of the opening concert.
were given, the well known Nocturne IN
E fiat major, OPP. 8. This was in the
main beautifully rendered. One or two
runs were too much accelerated to show
off technique, and the light and shade
effects were SO exaggerated as to be al
most crude. But the general conception
was 10 the true romantic spirit, bring tng
u tldt4 quality OI The music WHlcn
makes Chopin so great a favorite with
women, the Byronesque possession of a
soul, SO to speak. The Mazurka which
followed was a total failure, because 1T
might have been a romance or
a song or almost any pretty and delicate
thing in the world, but without the pro-
would have detected the characteristic
movement. This fault of obscuring the
meiodie form, which was conspicuous in
the opening concert, was apparent on
this occasion only in this one piece. BY
way OF compensation, the waltz In A flat
major, OPP. AZ, the greatest of an the
Snopln waitzes except the "Grosser Bril-
lanfer, affair, and perhaps even finer
than that, was given in indispensable
style, with an animation, a verve and at
the same time a grace and rhythmic
finish. which created pictures of the
brilliant light, the joyous murnur and
poetic movement of the crowded ball
room in every mind. There was only
showing of the simple passage near the
middle of the waltz, and to make IN.
the contrasts of force were both new and
SO Judiciously graded as. to throw new
beauty into the music.
space permits only a mention of the
other number on the programme. They
were Berceuse, Liadoff; Isl oiseau
himself. a pretty thing of no great note.
and "Springbrunnen, by Davidoff. The
closing effort was the William Tell'
overture as caricatured by List, perhaps
the most contemplate piano piece of any
note that ever was written. 1t was in
tended to bring the concert to a close
with a display of force. but it reminded
US of an athlete trying to show off his
points by tossing around feather beds in
stead OF indian club Mr.. Rosenthal
did all with it that mortal man could do,
and that he did anything proves that he
has miraculous hands.
Mr.. Rosenthal was generous in encores,
repeating several numbers. AS a final
gift to the "Paderewski girls who gath
cred about the stage after the close of
the programme. he played a Men
delssohn song very beautifully.
Tomorrow, the third and last concert
will take place at Carnegie Hall, at 2:30
P. M. This is the programme
1. Sonate-C minor. OPP. H.. Beethoven
Introduzione e Allegro
con brio-Adagio.