The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1899-01-04

TRIUMPHANT
TECHNIQUE

MoriZ Rosenthals first concert in San
Francisco. at the Metropolitan Temple
last night, is best described as a triurnph
in technique. Technique is the word. first
last and all the time. And do not misun
derstand me. / do not mean the mere
physical accomplishment of the mechan-
ic, but the technique with brains in it.
Muscle and mentality are closely welded
in the fingers Of Rosenthal; and his plav
ing is dignifed, analytical. musicianIy. as
well as marvelously acrobatic. His is the
technique that is unerringly telegraphed
from the head so that almost if seems
he thinks with his fingers. Technique is
the even half of any art, and Rosenthal
certainly has polished that portion of his
to point that is almost incredible. II is
only seeing that viii make you believe
what this man can do with two hands
and one piano. He is the wizard of the
= What Rosenthal is not is a great poet
Ire hasn't the passion. the fancy, the
5umor, the thrill, Of d great poet He
does not grip you, as sometimes Pader-
sWskI does, where your heart beats and
your lungs fill. He is not an emotionaiist
ana ne never edges along that exquisite
Inc Wnch separates the sublime from the
'hysterlcaE There is nothing inspired
about him. His interpretations are large
sohorouS, sympathetic, fun of good feel
ing ana OF abundant culture, but they do
not transport you to another world You
are amazed, delighted that is ali.
l can imagine myself in time growing
accustomed to the prodigious technique
OF Mr.. RosenthaL Why not? He takes it
as matter of course. He is a man with
out mannerism and without personal show
OF any sort; simple gentleman, short
thick and fair, with kindly uninportant
face and hair only moderately indicafive
of his calling. sober musician ia All
effect unconscious of the sensational M
ency of his fingers, and an artist that vou
cannot afford to miss. He does nor en-,
thrall you by sheer force of tempera-
ment as the throbbing PaderewskI does
and though his technique is something To
galvanize you, you can learn to take II
for what il is-the finest in the world Qua
yet never more than the informed exnres
sion of an artistic idea.
The recital began with Beethoven's
Sonata, op. 100, and the sonata began
with the prestissimo. for it was not untii
il that either he or the late-coming audi
ence appeared at anything like normal
advantage. The prestissimo and the an
dante with variations he read with SYM
pathetic emphasis and clear, beautiful
articulation. 1t was a refined, legitimate
performance, but in no sense wonderful
The wonders came next in Schumann's
Carnival, which, apart from the immense
technical display, brought out a variety
of mood and color, and in the closing
march the most audaclous and effective
employment of fortissimo that I have
ever heard on the pianoforte. The Carni-
val was a remarkable performance AT
times Ii sacked in humorous fancy but on
the whole it was splendid, full of glitter
ing description and tonal variety and
simply inVincible in the great, glorious
crash of the march. Then followed four
Chopin pieces, ending with Rosenthals
famous arrangement of the d fiat major
waltz in thirds, siXths, octaves and what
not. 10 say nothing of the first theme set
In counterpart against the second.
A familiar piece like this worked up