Deseret evening news. [volume] (Great Salt Lake City [Utah]) 1867-1920, 1899-05-22
ADJUSTMENTS. y


Tho Roscnthai night at the Tabcr.
nacio must be ranked aa a magnificent.
melancholy event Magnificent from
the standpoint Of artiatlc achievement,
melancholy from that Of public apprr.
clation. when the great artist walked
out and made his bow to that wilder
ness Of empty benches. he might well
have been pardoned n the chin Of his
welcome had penetrated his bones aud
rendered his work cold and ilfcless.
But ~ " determined TO show how the
artist In him could rise superior TO such
considerations. isorenihai fairly s,ormed
his audience into enthusiasm. lie at.
tackled the plano with n fcroclty-no
other word expresses it-thnt caused
one 10 trcmble for the instrument. but
when he rose. the little cOtcfic of critics
who made up tho audience. went wild
with enthusiarm. Ilosenthai'a prc-
dominating qualities arc. first his fore.
next his brlillancy IN execution. No
such thunderouH fortca worc ever
brought out 81 piano that survived
Ia tell the tale. NJ those produced In
the CARNIVAL by sohumann. and almost
Incredibly perfect was the lingering of
~ AaFfA NNNlNAA NNNNN'N NNNAN ~ A'h-
detcd In thirds. something one would
not have believed possible without
hearing IL. Everything went with a
storm Of approval, and the audience
would have encorcd every number. long
~ the program was. II Ilosenthal would
have yielded. How such an artist
compares with rndercwHki or tho other
vlrtuosi who have visited ua. II n Of
cuurre impossible for any one not an
expert pianist. to tell. unless he heard
one immediately after the other. hut
generally speaking. II can b. said that
the best opinion IA that iloscnthht sur
passes Padcrcwrki Ia technique. and
that Padercwrk rurpassea IsoHcnthal
In soul aud expression. How the
German artist u regarded by plhnintH
II shown In the following estimate pre-
pared by Nr. Arthur shepherd nj tho
Invitation ~ the "NewAi"
MIR. SHEPHERDS OPINION.
one has but To read u few OF I.osen.
that's prcsa notices to come ~ the con-
ciuHion that there are few adIcctlyca
that havc not bsen utilized In attempts
10 describe his playing. Surely there
are adJectlvca none too many. nor ~.
ncflativea none too cxtrayaRant, to
shower upon this giant OF bewiidcring
technique. II would rediiru most
unusual stretch Of Imagination 20 con-
ceive OF any pianiEtic impoaslbility 10
AFR. iioaenthal. II there II a limit To
planoforte technique. one might easily
believe that he has reached n. Yet. his
seemingly boundlcua resources II the
feature which aHtounds, almost scarra
one, and nils tho hard ploddlng student
with despair. A more serious pro-
gram than tho one given Saturday
night. might have shown the artist In
more imaginatiyc-and from tho
standpoint OF classical Interpretation
perhaps In "A more satisfactory light
That such an artist could satisfy with
any style. no ono will doubt, but that
Ne n also conscious ~ his unsurpassed
technique N quite evident, and being
such connummatc master ~ this aide
~ his nrt. II II not unreasonable 20
think that the glamour Of such a dis
nlay. ana the effcct-clectricai. almost
raraly thercfTom. would
tempt him; unlike Jonery, unlike Oodo-
waky, TO the more pyrotechnical school.
Yet, how long 10 hear him play the
"ApnnHlonntn," or the "WnidHteln"
sonata Of beethoven cannot but
Hyrnpathlre with those who allowed
such rare treat 10 pass them. "a
recital by iiosenthnli" surely such an
announcement 20 any one who has once
heard him. viii bring back those eli
makes. Irresistible rs the Gale, those
nuanccn and rouladcs bewitching: and
those cndcnxns, crystalline ana be.
WiiderinE. Enough said. My earnest
hope N that through the Interpretation
~ some kindly disposed power. spirit
ar shade, i,osentthhl might be- Induced
IN visit ~ again. Certainly his encour-
nErment 10 this end. az manifest In the
Size OF his audience shows most con.
rlunivcly that there II something radi-
enlly wrong somewhere. IL Il the p.o.
pie or the Tabernacle
80 As,