The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-02-08
MR. DALBERTrS RECITAL.
Some Great Playing and Some That Was
u,rrdCne by the Pianist.

Some Great Playing and Some That Was
O,rrdCne by the Pianist.
That there T. 10 such thing as standing
ftil in art vas polntedly illustrated yes
terLay afternoon wien Bug n o'Alhert
rave hls INST aro recital in II nGeLssohn
Hall Wien Air. C'Albert was last in this
country his playing was notable for the
spl udid hreaCth II its style. the larg =
MSS Of It's gnaral character and the
DIP Of It's int, llectual side. Emotion the
artist certainly had and this was 10 some
extent guided by his brain.
Nevertheless. what he most lacked was
elf control. His temperament usually ran
away with him. Repose usually comes
with greater artistic maturity. The blood
CEASES to run riot as in the veins Of youth.
and MteAgsuce spreads the calm oi
iathomless profundity over the aesthetic
conc ptions II wns predicted when DIAL
bert was here before that he would develop
into mighty master of the piano. high
priest Of bis art because as he grew Older
he would acquire that repose which lie had
not at that time and without which artistic
equilibrium could never exist.
His recital yesterday demonstrated that
rcpose s still lar away from his method.
There are great qualities in his playing,
qulit.es at strike 10 c very roots oil
We art, aud that still justify us in calling
ALERT tie little giant OF the keyboard.
But ole must not lie q giant all tie time
One must not shake the foundations OF the
earth with tie thunders OF his performance.
Cor cause the forced wires TO lungle.
" such a work as tie MINOR / assaoaglia
OF B1Ch arranged by D'AlLert. with which
the mani si Logan his recital il liz right
10 LOT oil hn 80 ha
periornaT ce Of this composition was simply
lrem uduus. II was majestic proolama-
ton Of "a hert's own power and an over
to"'ring publication Of tie grandeur Of
lbCh
7 en- came Beethoven's Sonata Appas-
sona d, and tere again D'Albert doomed
large II va, broad, passionate sonOrous
reading al times fairly orchestral in color,
lex ctcn here the tempermenlal flights
beyond coustfaint made themselves notice
etle
There were sforgandi that we're abrupt
ana out of al proportion. There Was
passage work blurred and uninteliigibie.
mere vas accentuation in the upper regis
Ter lAat converted the tone Of the piano into
ttemonsirant shrek. The blood ana brains
y the rfadlng we're undeniable. The lack
VI perfect relose. the want OF balanced
Judgment. was equally pain.
"a '.'.@ IL Tue OF tue Paying OF the Beet
20 ep sonata. II ia still more to be said
o. me IMniat's reading of Schumann' s
ta-pliai. Some Iaite Uf the oomposltiCn
were rayed beautifully but il must be
cI-l IS q tat these we're near the be-
si nng from the "Chlarina- 70 TIE
ms e'eIything was forced which called
KY dTce tone, and tempt we're mostly
uWr'f. Even the siorzandi and the
C's'rdi In the 'Chiarina,' which, TO be
e marked passionate. were played as
ID pianist thought that Sohumann
-'e n deiineste his beloved Clara as a
~ Tie end Mr.. D'AIbert had nothing left
~ VIC 10 make any contrast in the
VA oh' md consequently ne was obliged
uelduor = piano numerically in his
,'t-etFor q depict the valor of the David
zgs marching against the Philistines. IL
a7 band to hand battle. with heavy
"',es on both sides.
ILr most satisfactory part az his per-
.iNenoe vas that OF the three Chopin
1..h. En- he Dat alede. the nocturne,
y NJ. and tie A fat polonaise.
=" ne LGlade and tie noctun4o lie showed