The daily morning journal and courier., 1898-11-29

phenomenal glft of pure mechanics. Rosen- thai is something like Joseffy who was his su!ue philosopher and friend for many years, but although Joseity is cold and gslt- terlug he has finer intelligence and truer sthse Of beauty, The architecture of JoSei- fy's playing Is finer than Rosenthal Roseh- thaI In his anxiety to dazzle frequently loses sight of the rythmical values and symmetry Is destroyed He ls not without intelligence Tar from 1t; hls interpretations are most careful throughout, but 1t counts Tor llttle. enc grain of temperament in clmaN IS worth all the intelligence In the world; No- senthal has color and variety ot tone, but It Is all conscious aud premedltated, never spontaneous, And despite all his gorgeous crescendos and accelerandos and fortisslMos nt q finale he does not bring all audience to It's feet as warm-blooded, magnetic pianist Ike Teresa Carreno can, His technique IS q neyer-failing delight, and his inteHectuanty IS Interesting, and there you have sald all.
 His programme was as follows and It was one of his best:
 l. Sonate-A major ...............'Mo MoIart
 Tema con Narazione,
 Trio ala Turca. s. x Camayal-Op. ........'.'' 'sch9Inahin 1hn,iin o. q, Berceuse ........ 'Chopiin
 c, BalladeIA nat major. .........C Chopin
 d, Valse-D flat major. ....;;.....; ;Ch1oplh
 As contrapuntai study by Rosenthal,
 4. a, Der Lindenbaum ...... .Schubert-llszt
 o. TiannS Tvapi1aons Gsrnoyai Rosenthai Rosenthai It was better to hear him in Mozart rather than Beethoven sonata. It was cnaflnllS ly played, albeit the tempo rubato was much exaggerated and the whole thing was too fast, Tempo rubato is one of kosenthal.s devices for stimulating feeling, The senu- not suffer at his hands like Chopin and the rest The breath and depth of tone in the "Carnaval' were splendid, although agalna the tempos were forced at the expense or rythm. The four Chopin numbers were de- llcious as far as finger work was concerneu' and there was much refinement and eie- gance. Of the D flat waltz only sEperla- tives can be expressive. Il is one or the tfee mendously difficult things that he losses or the house. After several recalls the "Anaa, ,l4 lols2 and Toreador" from Rubensteins bai Masque" was given.
 After this came "Der Lindenbaum' Of Schubert and Rosenthals own scintllant blt "Papillons," the programme concluding Mltn his phenomenal fantasia on strauss WailAes which he calls ''Vienna Carnaval, ms IS the last word in piahism at the present date. It combines every device that arm, wflst and finger can accomplish. It is way beyond the ordinary range and scope of technlquSe, and is simply overwhelming. IL was HlGt by Rosentha to show off Rosenthal ana IL Is adequate. It does not seem posslDle tnaI anything more difficult could be deVlseu, auq it does seem possible that any one else coula play it. The audience cheered. wildly ana ref sed to leave it's seats until an encore was granted This time the F minor Mo mont Musical of Schubert was given,
 Is it possible that the enormous auVerlls- ing done for this man has been to none ei feet? Certainly the passionate pfess-aSehl neN CT raved more madly, and where was tue nllttude last night?