The Anaconda standard. [volume] (Anaconda, Mont.) 1889-1970, 1899-05-14

Rosenthars programme at the Grand
tomorrow night will be as follows:
Sonata, A major. Mozart; sonata, B fiat
minor, op. 80, berceuse, valse, A fiat
op. AZ, Chopin: vogel ais Prophet, Schu-
mann; Spinnlied, Mendelssohn Lin
denbaum, Schubert; scerze, b fiat min
or, Chopin; study on the d fiat, valse
by Chopin, Rosenthal; AT the Foun-
tain,' Davidoff; vienna Carnival"
ROsenthal.
Rosenthal appeared at Carnegie hall
in New York recently and created one
of those remarka BILE scenes of uncon-
trolled, spontaneous. half insane out
bursts that give color to LOmbrOSo'S
theories about mob mania and the ply
steal impulse of the crowd. An eminent
musical critic, writing of that occasion,
gives this description of the great plan
list and his playing:
''Rosenthal, the unique, Rosenthal
with the fingers of steel shod in velvet,
Rosenthal whose playing may be COM
pared ito a rose, to a cyclone, Moriz
Rosenthal, the worlds greatest piano
Virtuoso made his appearance after an
absence of nearly 10 years, and made US
forget Rubenstein. He played like Il
little wonder the people stroVe frantic
ally to salute him after he had finished
the war-Worn Hungarian Fantasia.
There was boldly expressed curiosity in
the attitude of the audience. How
would the little Galician pianist COM
pare with artists who have played since
mis- appearance here? Were his CONT
mental and European successes eXag-
gerated? Had he improved? The first
thing you remark in Rosenthal is his
enormous self possession. His repose
is magnificent. He accomplishes with
out turning a hair feats of technique
that are simply maddening. His wrists
traverse the keyboards as do the fingers
of great pianists Freedom, buoyancy
elasticity and precision are all there
The touch ranges from the crispest
staccato to most luscious legato. The
scales are true legato scales. They are
strings of brilliants, each one individ-
ual, yet never blurring the beauty of it's
neighbor. He plays some scale pass
ages en- bloc, and then the image is
created of something concrete, mass
iVe solid, granite, a staccato crystal
line whisper follows, and you marvel at
the adaptability of the human hand.
RosenthafS hands are in a state of the
highest muscle culture; his sense Of
tonal values almost abnormal And
the color he suggests, or rather say the
Naunce. His play is infinitely more
intimate, tender and poetic than it was,
and there is an absence of eXaggera-
ton in lyrical episodes, a profound and
just sense of rhythmical beauty, sym
metry, Elasticity that mark him as
a musician and a keen thinker Rosen-
thai is also a perfectionist. He never
makes the appeal popular; there is no
oVerplus of sentiment, no maWkish Iu-
bato; a sweetness penetrated by the
loftest severity and sincerity informs
his playing. 1t is for pure beauty he
strives. His interpretations are never
bizarre; he strikes out no new paths
of eccentricity; he avoids distorted
sensational effects. get, at every turn
every phase, you are confronted with
new shades of meaning, subtle tintings
and even when he let's loose the thun-
derbolt there is always the sense Of
power reserved. He is a wonderful
artist. The Tarantele seldom PLAYED
because of it's appalling difficulties the
Hungarian Fantasia, done to death bv
most planists, We're given with fierce
enthusiasm and Whirling brilliancy.
The first of the Fantasia, the breath of
the Hungarian hymn and the clatter-
ing close We're all startling and eyo-
cative of prolonged enthusiasm. His
is the art for art school, the cult of
the production of lovely, sensuous