The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1912-01-22
kUBELIK A DELIGHT.
Topeka Music Lovers Enjoy an Even
ing With the Master VioIinist-

A larger audience than has assembled
| IN topeka for many day for a two
Qoliar must l feast was present at the
First Baptist church Saturday night to
gather up the gems of tone that Jan
kubelik was expected to drop from
his one-hundred- thousapd-dOllar Stradi-
var1us and his northumberland fifty
thOuSand-doIlar fingers The people
came looking for wonders from hands
that carried such an inpressiyely large
accident insurance, so faithfully enI-
phasized by his press agent, and tn :
applause that greeted him on his ap-
pearanee signaiized the expectations of
his audience, who evidently came with
the intention of being pleased, while the
handclapping that followed all of his
numbers SlOWed that their hopes had
authority and distinction, and his
surerlative merit held his audience in
silence and effectiveness to the echo of
the last note
Kubelik he's been heard here before.
In former years he was known as the
technical phenomenon, and his virtues
ity was SO remarkable as to be consid-
cred incompatible with his years, but
mechanical equipment the elements of
sympathy and enthusiasm, and though
he is still young-not over 31-his play
ing has range of emotions that be-
longs to artistic maturity and power
to translate the gentler infections OF
feeling into the language of tone. Music
begins where technic leaves off, and
Kutelik is far on the road that leads
from the station of the blending of the
two. He comes with the new wine that
America is just beginning to sip and
appeals to the new tastes that rebel
against music that is only the harp of
David in the ear of Saul, the tinkle
of art trying to sooth safety" There
was a time when audiences were salts
fed with a mere display of deXterity or
handling, but the Galatians bagful OF
tod
serves even to amuse. Kubelik has,
beneath his dazzling execution an I'M
Outstanding of the loftiness of his art.
and the power to voice the extra hu-
man emotions on the hither side OF
speech.
When the slender Bohemian walked
onto the platform the craning of necks
and the clapping of hands began, and
while his accompanist played the open
ing bars, the audience had chance
to look him over before giving them
selves to the contemplation of his music.
What they saw was a 1.-the, supple man,
with an obviously unstudied, though
somewhat NepOIeonic bearing. He did
not smile throughout he evenings
most agreeable circumstance Gush
and patronage and display of pleased
vanity does very well for the prima
donna, but IL big dental smile from
man like KEbelik would seem incon
gruous. His arms are sinewy and long,
and there is much concentrated athlet-
ism in his work, and his violation
of one of the rules of violin technic
by disposing his weight equally be
tween both feet instead of resting it
so1idly on the left side, seemed entire
ly characteristic.
The program opened with the D
major Concerto by Tschaikowslxy, and
in that number technical mastery be-
comes the servant of a mood while it
exploits the sombre color of the D
and A strings. A group of three Sc
lections followed in which the dignity
and richness of the Beethoven num-
Der were displayed with clearness and
without any seeking after mere effect,
and the depth and logic of Bach were
set out with directness and sincerity.
The somewhat hackneyed Introduce
ton and Rondo Capriccioso of Saint
Saens was an exposition of his pow
ers in doubIe-stopping and the auto