The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-10-22
RAOUL PUGNO's RETURN.
The French Piano virtuose Reappears Re
fore New York Audience.


Raoul Pugno. the distinguished Frsnch
pianist. reappeared last night before New
York audience. playing in an orchestral
concert ~ Carnegie Hall. II war in 1897
that Mr.. Pugno last played here He was
ono Of the soloists At the Astoria concerts,
which were intended to fill the void left
by tho absence Of Mr. Grau's operatic
warblers that winter. He WAS at that time
player whose physical proportions far
outweghcd his artistic, but he made con.
siderable impression upon the musical
activities OF the winter AZ well az on the
keyboard Rumor and the Paris news
papers have averred that he has improved
greatly since he left VA. but he Is not any
sli2hter IN physique nor larger in artistic
stature.
His two numbers on last nights pro-
gramme We're Mozart's concerto in J. Hat.
No. o. and the familiar concerto In 4 minor
Of Edward Grieg These two numbers.
widely differing in style. gave him full
scope for the exhibition OF his powers.
Mozart lovers will recall this E-fat con-
cCrto ne II @ one which the composer wrote
at Sal1burg III I'LL for certain Nine.
Janony, whom he had met ia Paris. IL
is a most mcioiious and charming compost
ton, without any serious difficulties Tor
| a musical pianist. II was written at a
period Of Mozart's development when
technical difficulties such a. Passages in
thirds sNths and octayes seldom occur.
! Us cMef requirements are "a tune!ul de-
livery OF tn" melodies, Clearness and pre-
| cison IN the ornaments, and smoot hncss
! IN he runs and trllls. In short. any player
of respectable accomplishments with a
! command Of rhythm and OF "A singing tone
ought 10 succeed with IL.
The Greg concerto demands all that the
| Mozart wuTk does aid good deal more
! II requires strength, brilliinCy and a rich
| palette OF tone coior, together with al ap-
probation OF It's poetic moods and an ability
| TO reveal them TO an audience. A d fl ger
| tcchncian MIR. Pugio has few superior-.
he plays scales and arr eggios with admir-
| able equality. with bewitching smooth esS
and transparent clarity. For that reason hi,
| art was equal to the fundamental technical
| demands of the Mozart concerto. But he
! can also thunder in octaves and chords, and
he made some brilliant ciInaNes III the Grieg
, conn o-i,ion. His reading Of both works
was Intelligent but in neither did he show
touch OF e iug for the music, He played
with spirit and with energy. II there was
| no oeiry III mis- work, Il was better han
| aci d mic. but II was not communicative.
III the Mozart music his phrases we're too
| often completed with snap. a forte cra-h
| AZ the end. In the last movement the pl g
! pondcrdnoe of tone produced 10y the let
| bond obscurcd the flow Of the sparkling
| IN lodv allotted To the right. He was at his
| h ri In III" slow movement. vet even here
the lack OF nu nee. the abrupt transitions
| from q delicate piano 10 a harsh forte
spoiled his performance. In the Grieg
| number he PLAYED the Z 3 movement better
! than either Of the other two In the last
| movement lie for, I'd the tone of tho ins,ru-
mcnt badly. hi'e in the second movement
lie had no middle til IL. In fact. his entire
! performance WAS like Doe picture in
the hard sharpness Of i,s contrasts of liz hi
and shade. The audience spplaudcd II
vcciferouslv and called for the usual adj.
tlon1l nn'nber-
Mr. Walter Damro>ch and his orchestra
supplied IN" accompanimentS and opened
. the concert with lively performance
of Smotana's -Bartercd Rrido" overture
| Between the two Concertos tho orchestra
PLAYED the prelude 80 Saint Sacns'
-Deluge," Mr.. David Names performing
the violin solo; Charbrer's Sous Bots
and Chamii aIc's Pas dos VoieS" The
Charbrier piece was novelty, but highly
unmportan'.