Connecticut western news., 1916-02-17
HOFMANN AT BRlDGMAN CONCERT
Greatest Pianist at Lincoln Day Re-
 citaI m Norfolk.

Cildi
 PROGRAM
 Sonata Appassiouata, Op. 57 Beethoven
 Andante con Moto
 Allegro ma non troppo March (from Ruins of Athens) Vers L'Azur Stojo vsky Etuis d Co 1cert in c minor sternoerg Four old Dutch songs
 1. Tn Babiloue"
 D Val lief Kreeg Moeder lief
 ,. Al de jonge Luijde"
 4. "COutrrdaus"
 Fledermau> (watz) StrauSS-GodowSky Impromptu in A fl tt major Chopin Valse in c sharp minor On pin PolonaiSe in flat major Chopin
 Twice each year, through the gener- osity of two devoted patronesses of music, the old "White Church" at Nor, folk is made to resound with the echoes of sweetest strains of music. and
 Some to the church repair, Not for the doctrine, but the music there '
 TDe Lincoln Memorial concert help in this church last Tuesday, was the fifteenth annual event given by Mrs. Bridgman; the first, in the gymnasium, consisted of program by Sedgwick' $ orchestra, of Hartford, assisted by Mrs Bridgman's niece, Miss Mignon Swift, now Mrs Alger. Since then we have heard the Kneisel and Flonzaley quar- tets, the Russian Symphony orchestra, Goodson, Huhn, Gang, Sassoli. Schar. wenka, Zimbalist, Ysaye, Elman, Bauer and Gahrilowtsch. The last named artists, Bauer and Gabrilowitsch, have recently appeared in joint recital at Aeolian Hall, New York.
 With unbounded gratitude to the donor of this liberal education, the Lin coin Day audiences find themselves well equipped to enjoy, appreciate and even to criticize.
 Scarcely is it legitimate to describe what so speaks for itself as Music, yet there are, assuredly, effects which may be treated of satisfactorily, and while it would be presuming to criticize Josef Hofmann from a musical viewpoint, it is interesting to note the impressions received from one who is so capable ot producing impressions. It can be said in ali sincerity, that the outstanding feature of the recital on Tuesday after neon was the tremendous artistic inn pressiveness or the rendition of the numbers. Hofmann's interpretations will never be forgotten by those pres ent. His playing rose to wonderful heights, and we felt the greatness of the man, as we'll as of the musician. The audience, deeply moved, listened in awe and reverence.
 Whot Yoothoc in tho thnnuht nf tho great artist playing in memory of the greatest man our country has ever known-one whose heart was filled with anguish by the awfulness of our civil strife-while the players own native land is being torn asunder by the ravages of war. The very nature of the occasion and it's memorial char acter appealed strongly to the sentiment and patriotism of this artist, and greatly influenced him in his decision to con sent to Mrs. Bridgman's solicitation to come to Norfolk. He is making few engagements and will not play again in New York this season.
 Josef Hofmann began to play before audiences at the age of six years, and at the age of nine gave recitals in New York. The critics were amazed at the artistic effects of his playing. It was at one of these recitals that Edouard de Reszke, the great singer, rose from his seat in the balcony and shouted, "Bravo! bravo!' At that time, owing to the interference of the Society for the Prevention of Cruelty to Children, Hofmann was obliged to cease playing in public, and he returned to his native land. The critics placed him on the list of musical prodigies who are never heard in maturer years. Not so with Hofmann. After period of about two years he resumed his studies and later was taken by Rubinstein into the home of the latter, at St. Petersburg, Russia. The musical atmosphere into which he was thrown undoubtedly did much to shape his career, and caused him to persevere in his work, guided by his masterly teacher.
 It is said that Hofmann never before played with the fire and the emotion that he exhibited at the recital given about two weeks ago in Carnegie Hall, and nature was revealed that he had not before seemed to possess. The pro gram was essentially identical with that given at Norfolk. Stirred to the depths of his soul by the sufferings of his countrymen, his rendering of Chopin's Funeral March was "terrible in its grimness, and in the last move. ment ''he reads the message of the night wind sweeping over graves. :" The breathless silence in which the number was received on Tuesday, attested the intelligent and sympa- thetic appreciation of the Norfolk audience.
 Superlatives are dangerous, but it is generally conceded by the critics who know, that Hofmann IS the greatest pianist of the age. A unique char acteristic of the player is the orchestral effect which his playing possesses. At times the listener forgets that it is from the piano alone that come the tones, sc closely in imitation of the instrumental ton of the orchestra.