New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-10-27
MUSIC.
Mr. ROsENTHAL's RETURN.

The distinction fell to Mr. Moris Rosenthal last
night OF opening a musical season In New-fork that
bids fair 10 DE more opulent-we mad almost Saiu
more oppressive-in Its offerings In almost every
branch OF the art than any That has preceded H.
Among the throng OF musicians who will bear OBJ
latlous bidding for the favor OF this public MT
Rosenthal himself looms UP in artistic stature az
one OF the chief personages. That this fact was
recognized last evening at his recital IN Carnegie
Hall was plain 70 the casual observer 1t was equally
plain tina: there was special note OF welcome IN
the greeting that was given him and in the dispo-
sIton OF the audience toward the conoert-giver
The circumstances OF his temperance were such
as 10 win n certain sympathy and generosity OF
mood on the part OF the musical public. Just two
years go It also fell to Mr. Rosenthsfs lot to open
the New-York musical season. when he deepened
and strengthened the remarkable impression left by
his previous visit OF ten years ago The time inter-
yening has been momentous for the artist: for his
American tour was cut short by n desperate sick
ness that wellnigh put an end TO his earthly career
and finally sent him back to Europe to regain his
health. Now. after two years OF convalescence. he
comes back to take up the thread Of his Ameri-
can experience where he dropped It so suddenly.
He comes as he left one without a rival n
one element OF the ort OF panoforte playing name
ly, technique; but he soon disclosed last evening
the fact that he has enlarged and enriched his
DO yers in other and more vital matters. lie has
developed the emotional side OF his playing. and
has gained in warmth and the perception OF the
poetIcal essence OF the music he has In hand. His
tone Is richer and more sensuously beautiful There
are visas of passion and pathcs In his interpreta-
lions that he never before opened to the minds OF
his hearers He is not yet poet In the interpreta-
ton of great musc-there Is never quite an abso-
Int srontarolty a freedom from the letters. OF
strictly calculated effect. He has not quite es-
capped from the bonds OF the virtuoso His playing
has always been the product Of a keen and pene-
tratIng intellectual power that goes hand In hand
with the most bewilderng achievements OF his
miraculous technique and that guides and adjusts
even the most extraordinary of them down 10 the
smallest shadow OF effect. The evidences OF this
appear in the elaboration Of his phrasing; IN hiS
graduation OF dynamcs up to the most carefully
elaborated climaxes in his splendid and sonorous
exposition OF the large proportions OF a movement
and In his ordering OF the nicrocosm Of detail
or his technique itself nothing be said more
than has already been said. except that ct each
exhibition OF ii Il seems raised to a higher power
than before.
Mr. Rosenthal departed from the usual custom
OF his guild in presenting himself at his first APP
pearance in a recital. instead OF with an orchestra
for the performance Of concerted pieces. His pro-
gramme last evening not calculated TO dis
play an artists highest artistic powers. Weber
A fat sonata-somewhat old-fashioned and out"orn
to modern cara Notwithstanding much that Is
noble and reminiscent of the greater Weber OF the
operas-he played in extraordinarily brilliant
fashion and with much warmth OF feeling In the
p fat minor sonata OF Chopin, he touched the
highest point he reached during the evening IN d
| splenIldy passionate performance of the first two
movements and one OF the funeral march that was
free from sentimentaty and beautiful In Color
| Mr. Rosenthal brought forward again Ms
own contrapuntal Encouragement OF CHOPIN -
fat minor waltz which arouscO so mucn "ohoef
| two yearc ago in which the rapid hrst melody Is
J treated In sxths and thirds. and the second
broader theme is embroidered with the first placed
| above Il as A counterpoint and he once again 100
disclosed the summit Of his technical achieVeii'fh's
| in LISTS monstrous perversion OK themes from
| Don Giovanni" Ii seemed as II never before nad
! even he showed so completely victorious mastery
| over the mechanics of pianoforte playing Inc dii-
! hcuItles OF the composition vanished as II ~
| magic before his hands Every strand OF that lg-
noble fabric stood out absolutely clear and yet IN
ia due relation TO every other 1t dishearten-
| ing however to the lovers OF music-and there
! we're MANY present-to note that this perfectly
| futile triumph called out the loudest thunders o,
| applause that heard during the evening ana
! that would not he settled till the pianist had
| payed one OF Schubert'a little pieces.
| Mr. Rosentha did not add to the sum or MS
deserts by his playing Of the last two numbers on
! his list, the study by Henselt 81 Oiseau jetais,
was singularly lacking In aerial lightne:s, as he
nlayed T. and Rublnsteln's "Nase caprice was
| rendered almost unacceptable by the lightning
sreed AT which II was taken and the humorous
! bass which still further hid the contour OF the
melody There was a demand for more before the
audience would go. and Mr.. Rosenthal added
| stidy OF Chopin.