New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1902-11-27
MR. KOCIAN.S RECITAL.

Jarosav kocian's first recital which took place
in Carnegie Hall yesterday afternoon, came some
what like a surprise upon the New-York public
The people were amply prepared for the first con-
cert. Managers eager, press agents willing,
newspapers kind. If Kocian could have contrived
10 dream a melody played by the Sultan of
Morocco on the kemangeh (Which stands for the
fiddle in the ingenious mind of the EasD the fact
would doubt have been given to the world, &C
companied by headlines like trumpet blasts But
the news OF his first recital was precpitated upon
the public, and came silenty-like the snow. Few
heard the call; fewer answered it Consequently
there rather a melancholy air aboUr the affair
The hall seemed very large and very empty, and
the temperature, from artistic point Of view,
very low. This is frequently the case when a re-
cital follows upon the heels Of Introductory
concert, and though ones sympathies may go out
70 the artist record Of the fact history.
II has nothing to DO. Of course. with the merits Of
the newcomer who thus presents himself II the
audience that hears him at his first recital numbers
few hundred or thousand less than that which
welcomed him vociferously when he came. though.
as rule, the recital affords the better opportunity
20 learn what those merits 1t is more
serious matter for the artist. however, If
the surroundings OF his recital are such as to pre-
sent him in bad light Mr.. Kocan suffered
from being obliged give his recital a hail
suited by its vastness 10 such an entertainment.
Perhaps the circumstance would not have been so
patent had not his first number been what il
and played II was II the sonata I'm g
minor for pianoforte and violin IN which he was
helped by Miss Julie Geyer As graceful do
nestle affair. in a small with shaded lamps
and the rug it would have been thor
oughly delightful In a concert room with vast
and yawning spaces 1t almost depressing. It
sounded amateurish. Mr.. Kocian played timorous-
~, and Miss Geyer likewise both feeling their way
through the music which moreover, never
dsigned to be played under such circumstances and
with such environment. 1t is music for init
mate communion between performers and listen
ers Mr.. Kocian and Miss Geyer were out OF their
element and felt it; the listeners. and they
had to feel it. too. A fresher ana more nvigorat-
ing breeze blew up when Kocian got to work on
his show pieces even those specifically written
10 exploit technical skill He played the romance
by Joachim, and later the romance by Svendsen
(this on a recalD, and 4 Dumka OF his own, 10
show his powers as player of cantabie melody.
and sought to dazzle and dumfound only IN RleSs
Perpetual Motion" some variations on n bo-
hemian melody by his teacher Sveck, and the
Paganini "Palpiti," which was the final number on
the programme There admirable features IN
all but also demonstration of his immaturity Of
feeling and his lack of the assurance and aplomb
that must enter into the outfit of one who wishes
10 plav the role OF virtuoso in this age of viz
tuosoship in all the arts 1t was seldom that his
tone sang out self-reliant and unconstrainod. but
when it did it was rich and full and satisfying.
Again critical listeners left the hall unconvinced
and unenthusiastic; they could admire but they
could not marvel 5 they wanted to. Miss Geyer
pIaved a number of piano solos, and like Mr.
Kocian was politely complimented with applause.
Her fingers have been excellently trained, but she
has not learned that the damper pedal requires
great care. The contours of her Rameau piece yes
terday were hopelessly blurred. There were no
Medals on the cIavecin for which this music
written and if il be not clearly played its charm
is gone