The Minneapolis journal., 1903-03-09
THE HAMBOURG RECITAL

If one is to judge by the concert given
in Plymouth church last Saturday evening.
Mark Hamburg has not yet reached the
high tide Of music capabilities, except,
possibly as to his technique. That mys-
terious thing called temperament without
which it is said no musician can reach the
full measure of success, seemed curiously
lacking, especially in the Chopin numbers. :
The concert attracted a great many
music lovers to Plymouth, and the audi
ence was a large and, representa- tive one.
1t seemed, however. to be somewhat cap
tious,s and mot. inclined to give more in
the way of applause sand commendation
than was demanded by the player. That
compelling, imperious force was not pres
.ent, especially in thesfirst part Of the pro-
gram, and the applause while frequent
was fitful and not hearty and spontaneous.
The program itself was a, model. al
though itswas conspicuous for the absence
Bach and Beethoven - Hanbourgs most
conspicuous failure was in the Chopin
Nocturnes,* the beatftiful one in G major
being a part Of the Program, and the one
in F. sharp major thest t'Nocturne with the
sigh being s4layed as an encore to the
sRubiist eins Wsltz in A fat from lie Bal ii
The former was played with as little sem
ti1nent though it was call to a farm
house dinner at 12t clock noon. The
tempo Was taken at a pace which could
not but kill the sentiment and with. that
no effort apparently was made to play it as
it might have been gplayed, by Zeisler Or
Gabrilowitsch for instance. What is true
of this Nocturner in G ma jor is true in a
greater or less degree of tothers numbers
on the program appealing particularly to
the intelligent 4and galert gsensibilities. Z:
On the other hand, IIambourg's tech
nique was prodigious." He is inclined to
"show Off that fact, by taking his tempos
at a furious rate and accomplishing them
under the aincrea seds difficulties as easily
and with less apparent effort than other
pianists. The Leschetizky number; la
Source" was a marvel of digital dexter
| ity. The composer has taken a charming
melody for the right hand, which is, writ
|. ten, in measured but rapid time, each note
|: of that melody being played with a trill
or turn, and all without the abatement of
an iota> of the tempo The same facility
| Chopin "Pre1udes,' and in the Chopin
'Rerceuse,' where for the first time in
the course of the evening, the player made
| his piano sing, and where a very perfec-
! tiOn of tonal quality was secured. :T'7
| The Schumann 'Fantasia in G Minor
was an interesting number to musicians,
because seldom heard here. but it did not
! appeal to the audience with unusual pow
er. It's third movement, it is Interesting
! to note, opens with a hint of that COM
poser's famous ''Serenade.''' The Rubin
stein waltz was played with power and fine
effect, and won the heartiest encore OF
| the evening. The List paraphrase of the
Mendelssohn wedding March, was the
real "concert-stueck'' Of the program, and
| the exhibition of technique which II
brought was simply marvellous in it's per-
| fection. 1t was encored, and Hamburg
| played another number before the audi
ence would depart. Et,<< .e"7
Hamburg is not yet the musician of the
soul. 1t is doubtful whether he ever will
be. He is as near perfect as may be
1 within his limitations. but those limita-
tions are obvious. While his program wa.
perhaps much more severe than that o.
Gabrilowitsch, yet he failed to satisfy hi:
audience as did his predecessor. Withou
doubt Hamburg is fine pianist. his tech
nfque is superb, but the essential, all
compelling power to touch the hearts o
his listeners is lacking. Will the addition
of years Of experience bring it to him?
4 doubt it. Howard. Boardman.