The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1900-03-07
HAMBURG is HEARD
AND HE CAPTURES THE LARGE AU-
DIENCE AT GERMAN HOUSE.
He Is Given an Unusually Cordial
GreetinE-Amphion Clubs Concert
The Black Concert.

Youth and it's exuberance was the marked
characteristic of the Amphion Clubs con-
cert at the German House last night Mark
Hamburg, the youthful Russian pianist,
who was the soloist of the evening: a male
chorus composed of young men with fresh.
clear, ringing voices, and the youthful
director, Oliver Willard Pierce-all had
their rejuvenating influence.
The large audience was jubilant and gave
vent to it's appreciation in peals of ap-
plause. Nothing has been said or written
about the young Slav pianoforte virtuoso
that is in the least exaggerated. With
classic profile, so closely resembling Ru-
bernstein that Hamburg has been called
his prototype, the energy and VICAR of his
playing, the thoroughly artistic and natural
Interpretation Of all that is good in piano
forte literature, in which the individuality
of his temperament had full scope, fully
justified the admiration and enthusiastic
reception given the artist by the audience.
The arduous trials of concert tour were
apparent in the face and figure of the
young artist however, as he made his
appearance, and with swinging, awkward
stride made his way to the piano The
Prelude and Fugue in A minor (Bach-
Lfszt failed to dissipate this impression,
although 1t was played with the dreamy
assurance Of one who has his subject per-
t hsS under d,ar control: The performer
and. If for no other reason, the read
ing of this fugue was marvellous in the
extreme. The Sonata "Appassionata,"
OPP 81, by Beethoven, which followed, was
quite different in character the sim
plicity of the opening melody giving the
idea that nothing extraordinary was ap-
preaching, and the gradual charm that
quietly stole over the senses was only an
parent when the long singing bass of the
adagio ended and the hall was left in utter
and complete silence-then one felt the
hypnotic presence Of the shade Of
Beethoven.
AT the conclusion of the sonata the APP
plause was tremendous, and for encore
Hamburg played a "Berceause" by Cho-
pin in ID fiat in which the treble represents
the mother singing TO her babe, while the
| left hand keeps the cradle rocking through
out the entire piece, which is in six-eight
| time, the accompaniment being entirely in
eighthS; the first three are forward, then
two backward. the sixth-eighth being
rest, as though the cradle had reached the
| limit of its swing and was waiting for an
other push His next number consisted of
| four Chopin works-"Nocturne" in sharp
major, two studies In G. fat and major
and the sonata in B fiat minor, OPP. 35. The
| first etude, usually called the study in
| black" was one of his best, given with
zest and concluding with terrific double
octave run that brought the word mar
| velous' TO every ones lips. For some
reason the first movement of the sonata
was omitted This omission did not affect
| the work, however The scherzo was
| played In a playful manner, at time CO.
quettish, and in the march, funebre and
| presto the maturity of his genius was per-
| haps best realized. What Is ordinarily a
| tangled. chaotic maze OF sound here had
/ its meaning, and the musician was in evil
| dence at all times. The singing tone of the
| moving. rhythmic bass was sombre in the
extreme, and even the musical climax was
| full of sorrow. The presto was a marvel of
| digital dexterity. the perfection of the
| science of technique.
| Hambourgs last number consisted of a
| suite OF five pieces, "Intermezzo," in oc-
| tave, by Leschetizky; "Chanson Triste, -
| Tschaikowsky-the prettiest number on the
programme. somewhat resembling Mos
| Moderne," Hamburg, which had to be re-
| peated so favorably was IL received: Bar
carolle," by Rubinstein. and "Rhapsodie
Hongroise, No. 2" by List Two of these
| deserve special mention The "Gavotte
| Moderne" sounded like a duet on two
| pianos instead OF a piano solo, due to Ham
Liszt ''Rhapsodie, No. q" which is COM
| monty known as the Young Ladies' Semi
nary Rhapsodie." displayed the painstak-
ing artist. for he played this old hackneyed
| composition in way never before heard
| giving Ii an entirely new and original in
| depreciation. In response to deafenine
| braves and the waving of handkerchief
by the ladies in the audience he played
| the familiar Mendelssohn wedding march,
| with original variations.
| The Amphion Club, which alternated
| with Hamburg on the programme, was In
| good voice and gave it's numbers with its
| well-known tone-quality and careful study
| of details. The 'Saltarele" by Saint
| Saens, is the most pretentious thing the
| club has undertaken and had the go and
| life of youth in every measure. The re-
| naming part, songs completed one of the
| best programmes ever given by an Indian
| apolis organization. The accompaniment OF
| Mr.. Paul Teichert reinforced the chorus
| with a rich. harmonic background.