The Fargo forum and daily republican. [volume] (Fargo, N.D.) 1894-1957, 1913-12-11

AdaglO ~SOStenutO, AllegrettO,
Presto Agitato
Des Attends cat Evening" ..Schumann
Aufschwung (Soaring) ...Schumann
Warum (Why) .......... Schumann
Grillen (Whims) ......... Schumann
Soiree de Vienne, No. 6 ............
SChubert-LisZt
Erl King ..........~ .Schubert-LiSzt
Ballade in A Flat ............ Chopin
NOcturne in 3 Major ..........C Chopin
Polonaise OPP. SO Chopin
Isolde's Liebstod .............. List
Hungarian Rhapsody ........... List
The applause at the close of the
opening number showed that the audi
enCe did not fully understand the
pounding of the bass and the lifting
Of those arms.
Things were different at the close Of
the luscious Beethoven sonata, which,
fortunately for those present, Mr.. Pad
ereWski chose the so-called Moonlight
sonata. and he played it beautifully,
particularly the opening movement,
which, many ears ago, suggested to
one great admirer of Beethoven, the
name by which the onata became
known. enc authority in the audience
last night said as the player arose to
bow his acknowledgements, Great. He
made that Moonlight sonata seem like
a new gold coin, fresh from the mint"
IL III 6LOuP pICIN GU NY tie sISdI
Polish Virtuoso aroused the people to
the highest pitch of enthusiasm. Evil
IDENTIFY he petted Fargo for he gave her
the distinctive honor Of using the same
group used in his first Carnegie hall
recital in New York. The exquisite
musical ideas of Schumann were ex-
hibited in Des Attends, Aufschwung,
Warum and Grillen, and to them the
pianist impaired h warmth, the
tenderness, the contrast. the formal
freedom, which, together with their
breVity, constitute the romanticism of
this music. AS for the sixth Soiree de
Vienne Of Schubert-Liszt (Which con-
tains the most enchanting valse ever
Written), P~aderewski's performance Of
it was ravishing. A thrilling tragedy
folloWed-the story Of the Erlking. No
the narrator, the anxious father, the
Turing Erlking, and the terrified chiId
more realistically than Paderewski did
on this occasion. In LISTS version,
and especially as played on Saturday,
the father rides faster and more furi-
Ously h in the original song, out it
is we'll known that Schubert himself
grew faster and holder in his second
version, and could he have had a mod
ern piano he would have doubtless
written the piece just as Paderewski
played it, for he was a genuine dram
atist. Terrific was the panic Of the
father toward the close, and the per-
oration-when he f1nds the child dead
In his arms-could not have been de-
livered more thrillingly by the great
est '~tragedian or singer. using the spok-
en- words.
Perhaps the highest point in the
wonderful programme were the beau
tiful interpretations of the Chopin
group, all Of them gems, and the de-
votion of the audience to the player
seemed to bring out in bold relief that
he was giving the best he had-very
lovely was the playing Of the Polonaise
and will anyone in the audience, stu
dent or mere admirer, ever forget the
climax at the finish? No wonder some
stood UP to applaud.
The playing of Isolde's Liebestod
was also wonderful in its tone produc-
ton. An analytical note says, ""This is
a transcription for piano, made In 1857,
by Franz List, of the final scene of
Wagner's love tragedy, Tristan und
tIsolde's Love Deatll), was given, some
say, by List himself, to the music of
Isolde dying over Tristan's body. Isolde
has reached Brittany from Cornwall
Just in time to take her dying lover in
her arms and the music drama ends
with her rhapsodic lament and death.
Naturally the climax of the whole re-
eital was the Liszt Rhapsody and after
1T a shout went up--it had been learn
ed that there was something back east
called the PadereWski shout, an exs
kpnassinn afs arrtni'Siasr Ind ssEat atsnse
EtFHfE