Kansas City journal. [volume] (Kansas City, Mo.) 1897-1928, 1897-05-15
MUSIC AND THE DRAMA.
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Such enthusiasm as that displayed at the
Coates opera house last night on the oe-
casion of the Teresa Carreno recital is
rare in any place and is so infrequent In
Kansas City as to be positive novelty
The reception given the great pianist when
she made her first appearance was moth
ing more than a cordial compliment. Much
had been said of her marvellous powers,
but there had been no fictitious advertise
Dent OF her personal eccentricities, for she
has no such characteristics to trade upon.
Tho interest had none of the fad element
which so frequently supplements the de-
served popularity of those who represent
the public arts. The audience was made
up largely of musical people, and while
they waited in confidence for the demon
stration they did not rise to the occasion
until they were convinced. But at the
first opportunity they broke forth in tre-
mendous applause which grew in force
and volume as the programme progressed,
and wound up with a veritable storm of
cheers and handclapping after the final
programme number. Carreno came back
again and again, but still the audience re-
mSined seated and refused to be dismissed
until the artist played one of her own
delightful compositions, evincing a creative
ability second only to her interpretive pow
ers.
1t would be hard to arrange a better
test for the resources of the matured art
ist and the perfected piano than that af-
fOrded in the programme played by Car
reno last night. 1t ran the gamut from
complicated dynamicS to murmuring melo-
dy: from sweeping passion to subtle senti-
ment. In both extremes and in all the in
termediate forms of expression, Carreno
met every eXactiOn with cOnSummate case.
The privilege of hearing Carreno play is
an experience of a lifetime. Its value musL
grow upon one as he goes into compare
tive reflection and as he supplements 1t
with prnprtpnHdS that after Here
Kansas City Paderewski Is the current
standard in piano playing. Carreno is
Paderewsk is the greater poet; Carreno is
the greater virtuoso. Paderewski Is the
mere fanciful; Carreno is the more emo
tional. Paderewsh is weird and super
natural; Carreno is human and magnetic.
Carreno's temperament is so charged
with fire that 1t is not strange that II
carried her beyond control IN the earlier
days of her concert experience. 1t has lost
none of its intensity. but it has met a
mistress in the matured artist. Such pow
erful concentration, such unfailing COM
mand of the great forces of conception and
Interpretation, have not teen seen by this
generation save in Rubinstein. Carreno
has a remarkable individuality. Her an
alyses are as unconventional as her at
tainments are unique. Her playing of IA
miliar numbers is instinct with new reve-
lations. But. In spite of her prevailing
fervor. you never get the impression that
a reading or tour de force Is the result of
momentary impulse. There is dominat-
ing intelligence that denotes definite pur-
pose. Then you marvel at the combina-
tion of mind to direct and skill to per-
form.
Carrenos physical power is prodigious.
She has the muscular resources of the
man with the innate refinement of the
woman. Her amazing technic is no less
wonderful in the dynamic intricacies OF
Bach and LisZt than in the delicate shad-
ings of Chopin and Beethoven. No one has
ever played the LisZt transcription of the
Paganini La Campanelia" etude here with
anything like the combined grace and brill
liancy of Carreno. The finale of LISTS
sixth rhapsodie, as played by this woman,
seems almost incredible in its passionate
sweep and tonal breadth. In all her gilt
tering runs her enunciation is perfect and
when there is n bold. declarative passage
Il stands out like the call of n trumpet.
Her graceful suggestion of sentiment was
evinced in the Chopin nocturne
and in the same composers berceuse. given
as an encore. The programme was as fol-
lows:
(a) Fantasia. Chromatique and Fugue
(Bach) CBulow's edition.; (b) Sonata, c
sharp minor. op. q, No. Beethoven),
adagio. allegretto, allegro motto.
(a) Two Preludes. B fiat. G fiat: Oh Noe
turne, G. major. Op. 81: (c) Etude. G fiat;
ld) Polonaise. A fiat; op. 53 Chopin.
(a) Impromptu. op. 1i2, No. (Schubert):
'b) Soiree de Vienne (Schubert-LiszD: (c)
La Campanella. Etude Paganini-Lisz).
(a) Sonetto del Petrarca; (b) Rhapsodie
No. Iiszt).