The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1903-02-19
TAUGHT LESSON
GabrilOWitsch Taught a Lesson
in Topeka.
Refused to Continue Concert
Till Quiet Was Secured.
PLEASES MUSIC LOVERS
His Playing Unlike That of
Other Artists.
Six Hundred and Fifty People
in Auditorium.
PLEASES MUSIC LOVERS

Ossip Gabrilowitsch has been heard in
the Auditorium. He was appreciated
by the musical for his art. He viii be
lauded by the unmusical for his back
bone and the primary lesson he gave
those who had charge of the concert.
Gabrilowitsch was intent upon the
second number of the programme when
suddenly he struck two notes with a
terrific crash, brushed his hands
through his long. wavy hair, arose
abruptly from the piano and stalked off
the stage.
Since the opening number escaping
steam from radiator had increased in
volume and sound until it was annoy
ing in the extreme to everyone in the
audience. Several vents of radiators
sputtered and spit but this particular
radiator was making q sound which re-
sembled steam escaping from a loconO-
tive standing on a siding. Then, of
course, in addition to this a policeman
or two who knows as much of music
as bacon on foot does about the Sab
bath. slammed the rear doors and en-
tered into a muftied conversation with
the doorkeeDer.
There was a murmur of surprise when
Gabrilowitseh left the stage. In a mo-
ment his manager emerged from the
dressing room. He stated the conditions
Tor the continuance OF the concert to the
managers, which We're, that there must
be some emblance of quiet and order.
There was a scuTrying of dOOrkeeperS
and ushers and finally, after most of
the steam valves in the building were
closed. the proper one was accidentally
discovered and the roaring stopped and
the Kissing was diminished to the mini
mum. Gabrilowitsch returned. He bow
ed to the audience and in fairly good
English. spiced by the rich twists of
foreigner, he said: You Will excuse
ma fer inderuptding der berforance, but
dot steam noise I could hermit not. I
cannot bplay mid ut. Eef you not
oobject vii proceed wild der sonata. y
There was a round of applause and he
proceeded. The steam had been choked
off The policeman had not but he took
the hint and kept quiet
Every audience that has assembled in
the Auditorium for a concert has been
annoyed by various sorts of noises and
urbanceS and GabrilOwitsch has
been the first performer to demand the
quiet and order which should be main
tanned. in respect of the rights of the
audience and of the performer.
It was good sized and highly critical
audience which greeted Gabrilowitsch
for few, except the musical were at
tracted to the concert. That the listen
ers were interested in seeing, as we'll as
hearing, the celebrated pianist was evil
denced by the moving about of the au-
dience after the first number The key
board Of the piano faced almost directly
north and those who sat on the south
side of the building could not see the
players hand. After the first selection
many people changed their seats to the
north side IN order to watch the fingers
Of the player
GabriloNits is interesting for his
technic. if nothing else. Even the most
musical must marvel at the perfection
of mocha meal skill he displayed in ex-
ecuting the difficult lingering of the Sc
lecIions.
There IS nothing of the eccentric or
grotesoue to be noticed in the appear
ance of Gabrlowitsch before an audi
ence. He was clad in conventional ev-
ening dress. He walked from the dress
ing room to the center of the stage,
turned with almost military precision
and stiffness, to the audience and bowed.
He seated himself at the piano, in
solid oak chair OF the dining room style,
ran his fingers over the keys a moment,
dropped his hands to his lap. turned
slightly and calmly surveyed the audi
ences and then. without any fiourishes
began his first number, Tausigs ar
rangement of Bachs Tocatto and Fugue
in D minor The first selection served
to display the volume of the instrument
and the ability of the performer to put
the piano to the test The free and
brilliant passages and the complex pro-
gression of the composition were Won
derfully interpreted.
The second number, BeethOven's
! Sonata Pastorale," opus %, was in con-
trast to the first and continued the dis