Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1914-12-17
Fritz Kreisler' S Recital

The applause which rose to greet Fritz
Kreisler when he came on the Academy
stage yesterday afternoon was compound
ed of memory and sentlmentality. Those
who knew the violinist welcomed him
back. Others, drawn by the accounts of
his military career, saluted a hero. But
1t was not as a hero that Mr.. Krelsler
came; 1t was as a violinist And properly
the shouted "Bravos" which recalled
him to repeated encores, and the crowd
which stood at the stage door for 80 min
utes to greet him, paid tribute to him as
a violinist alone. ,a-.... ..-,..
He is, without question, the noblest
violinlst of our time. Yesterday, in the
brief program and In the encores he
played, he flashed his mystery upon his
hearers; showed to the critical mind by
what grand and arduous steps he had
come to his present estate. There was
the technical mastership which is not vir-
tuoslty, and there was the artistic right
eousness which is not the artistry OF play
ers who are known for the hearts they
break Mr.. Kreislers technique is i'm
peccable; his art is the striotest and the
Banest known to us. He is, in every note
he plays, the preceDt and the example of
greatness.
As for Mr.. Kreislers technique, It Is
not hidden, AS critics are wont to say all
exquIsitely adjusted TO his music. Yes
terday there was the fluid singing tone
for Handel and the richer gold for the
Mozart "Rondo." There was a perfect
diablerie which kept trills running mad
ly over sustained chords In the music
which TartinI said the devil inspired him
to write. There was the Arm, full touch
shadowy tripping OF the bow for Dvorak,
in aUAFHrfhinH M a gOnnn Tni9g-
ed; the players ear for tone, so truly
adapted, faltered not once,
These things one could notice and later
understand. But what In Mr.. Kreisler's
playing Is great Is the art which inter-
prets and commands. which informs
music with the meaning OF life. Yester-
day the comic carnival OF existence
passed into the players soul and again
into his music. Passions gentle ana. dis
Greet in Handel. hectic in Tortini; woven
and clothed aud Gluok; tenderly regret
ful In Schumann's romancei exotic,
strangely disquieting In the beat of the
+'Indian Lament" all spoke their word.
And somewhere in the "Chaconne" OF
Bach, tho tragic carnival, too, was dis
seoted, splritualized and ennobled. What
life holds OF wonder and beauty, what Il
holds OF passion and OF pain, even It's
Greater glory OF tragic Joy, sang In the
instrument OF Mr.. KFeisler's work
The spirit OF that work forbids super
latiyes. There is even an impudenos IN
attempting to speak of 1t at all. Can
those who heard drink OF his cup1 Yet
one thing, the lesson OF this master can
be learned. Mr.. Krelsler's playing Il the
negation OF everything romantic, It Is
not madness. but sanity he Is not drunk,
but sober with the glory OF his Wofk.
But his IL the sanity and sobHety OF
genius. which knows forever the sharp
and thrilling edge OF the sword OF life.
II Is sane because II is never dNcessl4e3
It Is sober because Il Is perfectly con
troiled- II Is the work not OF a genius
who makes his talent an excuse ana an
evasion, but OF one who takes his talent
az high ana precious responsibility.
In the end the art which Is worthy "a
the art which teaches Us how to live.
AR. Kreialer's Is so because he has lived.
Il may seem strange that to live the eom-
mon lie Of a man. 70 do the daily duty,
70 know the common pleasures, should Ia
the END make one 80 surprisingly great
That Is one OF the mysteries which do
not confuse. but illuminate Because h
leads uB 70 newer ideals Of greatness ana
new conceptions Of genius, Not he Who
e different but he who g great In the
way OF humanity Is the geniua. M.
krelsler sees with our eyes, yet mora
clearly. he can then speak Ia our tongue.
but 30 speak that our hearts stop 10
listen. He makes Us IN thai momsnt
share his high passion the divine passion
Of creation.