New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-02-09
MUSIC
Alfred Reisenduer, Pianist.

That Mr.. Reisenauer would not belle his reputa-
ton was manifest al his drst appearances st a con-
cert Of the Philharmonic Society ten days ago.
although II was somewhat Of a one-sidsd test to
which he submitted himself on that occasion when
re chose TO exploit himself a specialist in the
Interpretation % Lszts music. At his first recital
yesterday afternoon In Mendslssohn Hall he gave
a wider and more varied exhibition OF his powers
and established himself enphatically In the highest
graces OF the local public Re was greeted BY a
numerous audience, but little Importance attaches
TO that fact. for the discriminating reader OF the
daily record OF musical occurrences. II he has any
experience with the practical side OF concert CIV
ing, viii know that at the introductory re-
cltal OF a pianist the size OF the audiences
testifes TO little else than the industry CT
the manager and the public capacity for free
tickets II il n Different matter when the new
conner has made deep enough impression TO IN
wife the serious interest Of the knowing. and when
1t the crucial test afforded by recital he not
only deepens that impression but coupels en-
thusiastic reclamation as a virtuoso OF Tie most
serious most dignl1ed. most capable and most
gifted type. This was the case yesterday Win Nj.
Reisenauer.
the maxim Of Coethe's mana ser IN tbs prelude 20
'Fauzt." who offers much brings something unto
many" and may not have been wholly chih-
fuenced BY the foolish notion entertained oy many
foreign artists that Americans are but children IN
musical appreciation. and require much pap In their
pabulum. We would be ready 70 set this
down q strong likelihood in the case OF Mr.
Resenauer did know that programmes IKE
that Of yesterday are frequent among his European
offerings, and that such scheme affords oPpor-
tunities which every virt1oso Of broad culture Id
erai taste and finished technical skill delights n
The scheme was arranged on a Chronological plan
and embraced nothing but masterpieces. familiar
IN the teaching room and from many hearings from
many notable artists. and. perhaps. all the more
welcome on that account II began with the Fan
tasia IL c minor by Bach; the two print
tive sonatas by Scarlatti frequently set down as
yesterday, as ''Pastorale-' and "Capriccio." Han
deIs theme and variations known '-Ths Har-
moniOus Blacksmith" followed: then Presto In
by haydn and Mozarrs highly significant RondO
In minor. These pieces marked the close of the
classical period. and covered the change In style
from that OF the harpsichord to that adapted
TO the pianoforte- Now ccane Besthovsns Sonata
IN c minor. Op IL. the evangel OF an artistic
prophet. the mountain peak Offering a wondrous
vista IN the new land OF romantieism through
which the hearers were led by Schumana C-Carne-
vaI'). Chopin ca group Of familiar pieces and
Liszt (the tenth Hungarian Rhapsody Here was
matter for the employment OF intelligence. taste.
that enters into good playing. Every expectation
PIONpttu Dy s0-Hu tasts NAS IealI1S u ~.
iuti0, Of ioEai charm TIE deveiopr1ent OF digtaI
convincing authority and power. II was lesson In
the history Of panOfOrte literature and ptanOfOrts
playing in which every phase was illustrated by
one Who for the nOnce. became the master inter-
prefer of The period. Ard from beginning TO end
closing IL in the beauty OF It's strength and the
strength OF ITS beauty: Sentiment never dsgener-
mawklsh. Chopin appeared as man. Beethoven as
seer. The audience was profoundly stirred and
Sovs ga Ts-IsTed here In recent tines He must
Gene sgain- There Is need OF such as he