The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1906-02-03
THE KUBEIIKg RECITAL

neapolis has enjoyed in a musical way
during the present season swas further
augmented last evenings by the Kubelik
concert, and the audience which filed
Plymouth church to the doors, if one
may judge from the intense interest dis
played, enjoyed the occasion to the full.
There seems to be a. distinct change
in the young violinist since his appear
ance here four years ago. The quiet,
retiring boy, with his immobile face
and his uncanny personality, has gone,
and in its stead there seems a human,
with a face capable Of being moved by
feeling, and alive to outside INFLUENCES
in homely vernacular, he seems s'Hke
real folks.,,' His manner bespeaks an,
enlarged manhood, a consciousness OF
power and genius, yet with due mod
esty. In short, he is no less brilliant,
lyet more ATTRACTIVE and winning
most M, t. exhaustive superlatives7 His first
number was the Bruch Concerto in 6
/ Minor a mastery composition, and
played in a mastery manner, with a
full bowling that was a delight, to the
heart, and a purity of tone and breadth
of treatment that bespoke the Ht artist artist Of
with intense, almost painful attention,
being interrupted between the move,
ments with tumultuous but respectful
applause. At it's close the applause was
almost deafening, and the little man
was thrice recalled before he responded
classics, which was SO exquisite and
clean in it's technique as to fill the heart
with wonder. ,g..
Kubelik $ second number was the
Paganini concerto, which was chiefly,
interesting because of the wonderful
cadenza by Emile saurett, with winch I: :
it closed. The composition 4, ITSELF q ,d "a
served as beautiful vehicle in which
to exhibit the players virtuosity.
was full of the most difficult feats of
violin music. Double stopping, diff.
cult thirds and tenths, and harmonlcs
so exquisite as to seem the music OF
another realm. Turnout the entire com
position Kubelik was veritable King
With the most consummate ease ne
comprised the astounding difficulties Of
the work. His tone was always beauti
full, and full Of feeling. His arpeggl
trills and harmonics were always per
feet and complete. Not detail was
:. missing or sighted. It was supert
;, artistry. At the close Of the number
! and after insistent recalls he .playee
HTraumerei' con sordino, while the
audience fairly held it's breath to catcf
each divine strain.
The third number was a group. o:
selections by Dvorak, Hubay and Wien
s!souvenir of Moscow, = embodying tn
Russian folk=songs, and notably Di'
Rothe Sarafan. =, After playing TIL
melody as it appears in the origina
lied, Kubelks took up the different vari
ationsa which the composer uses to EN-
bellish the work, performing almost II 7
the close Of the number, the audienc
simply refused to be- comforted, an,
{ without a single person leaving hi
seat, ,applauded so insistently and urg
| / emily that the artist appeared an
) played another number as his congo
Altogether, the evening will long b
remembered as most perfect exampl
of violin artistry Of the highest order
Miss Agnes Gardner Eyre, as tn
! pianist Of the evening, appeared in tw
numbers, the first a. group Of Chopi
and Schumann numbers, and the secon
a Saint -Saens waltz which was subst
/ tuted for the Brahms sScherzo in
] Flat Minor In the first group Mis-
Eyre did not display any remarkabl
proficiency. There seemed an absenc
| Of freedom and abandon in her Worl
which detracted especially from tn
Chopin compositions. She was, how
ever, encored, playing a Chopin Pr
| Jude. In the Saint. Saens number, Mis-
Eyre struck the RICH chord, and playe
with an intelligent Discrimination an
freedom ard nsfan o. seGhnlap
was again recalled thrice before I,
spending with the desired encore.
= Howard BOardman.