The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1904-02-10
MASTER Of
THE PIANO
FriedenthaI Gave Fine
Recital LAST
Night.

opportunities we have, outside {
mechanical records, of hearing a grea
maestro's Interpretation of a grea
master. The visit of Prudential ha
therefore been eagerly looked forwar
to by the many of this city who trul,
appreciate classical music. It is a caus
for deep regret that the weather de
tered many from hearing last night,
recital but the evening must be scored
as triumph for Prudential and a rec
letter day event for those who went
to hear him.
A pianist, not playing his own COM
positions, is essentially an Interpreter
of anothers moods, another's express
sions and another's method. He is
moreover hampered by his instrument
to degree that the violinist never
knows. No matter how fine the instru-
nlent pianos musical susceptibilities.
so to speak, can never compare with
the vibrant violin, attuned by long in
timacy with molecular, instinct. one
might call it, to the artist. The plan
list too often changes his instrument
and the ivory keys and connecting ham
mers are poor substitutes for the re-
sponsive strings and thrilling finger
tips.
1t is this difference perhaps that
makes so many violinists, so few mas
ter pianists. But among the few that
have made their way into the musical
favor of the world, overcoming the un-
responsive technique and variability of
their chosen instrument, Prudential
easily stands in the front rank
To the amateur musician, the origi-
nality of his Interpretation strikes one
as the dominant thing in his playing.
The authors harmonic meaning is al
ways faithfully followed but as a score
IF persons may weave a different story
from one canvas, so FriedenthaIs won
1erful individuality stands out in all
MS work. His technique is essentially
Inla bored, its difficulties have been
mastered long ago and it never OBJ
.rudes, it is always subservient, leav-
ng the maestro free to give rein to
lis conception.
The execution of the B fiat minor
Sonata of Chopin showed that Frieden-
If the great composer and the SYM
oathy of the audience because more
lively after each movement. Through |
he forceful movement, the Scherzo, |
Funeral March and the finale Frieden-
hal proved himself to be a pianist OF
great ability, of technique and original |
igor of landings. The Nocturno in D |
lat, Valse No. 5 in A fiat, and Polo |
laise in A fiat, all by Chopin, show |
lis special cultivation of that composer. |
Then came LISTS arrangement of the |
.reat Wagner's Spinning Song" from |
The Flying Dutchman." The great |
echnical difficulties of this aria known
like to all musicians, professional or
mateur, made Friedenthars rendition
ne not lightly to be forgotten. The
yhirr of the busy wheel accompanying
he spinster's song was in his hands
vivid and notable tone picture.
Valse from Faust is attempted
ften by amateurs everywhere but in
he vigorous hands of the master plan
It it seems another composition.
After an interval of about ten min
ties came the Storm Scene from "The
lying Dutchman.'' Aside from the
rain on an artists musical tempera-
tent this difficult composition is
we're physical trial, but was handled
the clearest style without any strain
g for effect, causing enthusiastic APP
ause at it's finish.
The List arrangement of Schubert's
grenade was followed by Schubert
ausig Riders March," both receiving
vely applause.
.At the Lake of wallenstradt," by
Iszt, was rendered with a clearness
Id de1icacy of touch both fine and
In playing weber's Perpetual Mo-
on," Prudential showed a technique
at is as energetic as wonderful and
delightful daintiness in playing the
favotte Antique" of Corelli, the latter [
ing enchored by his enthusiastic
ldience.
If only the Hungarian Rhapsody No.
which concluded the program, had
en- played. it would have suff1ced to
owe Friedenthal an artist of the first
nix; his execution Of this difficult COM