New-York tribune., 1917-01-10
PADEREWSN AND
KNEISEL QUARTET
CHARM HEARERS
Pianist Plays Schumann and His
Own Sonata-Mr. Godowsky
in Familiar Role
BY II. Z. KREHBIEL

There was serious purpose in the
best OF yesterdays music. Mr.. Pade-
rewski gave a recital; and one OF his
recitals, though it come amid hun
dred Of its sort, and though it invite
conflict of opinions, is always an
occasion for thought among the know
ing and enjoyment for all lovers Of the
art
The Kneisel Quartet gave a concert
of chamber music, and though it Of
fered no novelties it challenged atten-
tion and praise because Of the elo-
quence with which it presented the
/ beauty which is perennial for the ap-
probation OF an audience capable OF
appreciating the beautiful in all its
various manifestations. There was
also an orchestral concert which had
one purpose for the performers and
was heard from an entirely different
point of observation by the audience;
but that is the affair of another re-
viewer, 1t supplied no need IN the
musical life of New York, for the rea-
son that the orchestral element is over
abundantly represented by our local
organizations, and curiosity alone,
tempered by a spirit of hospitality,
challenged the attention which 1t re-
ceved. The reference is to the con-
c-4t Of the Cincinnati Orchestra IN
Carnegie Hall, which took place in the
evening.
The outstanding features of Mr..
Paderewski's recital in Carnegie Hall IN
the afternoon were contained in the
first part Of his programme which en-
braced the last of Beethoven's sonatasi
the "Papllons" of Schumann and the
players sonata in + fiat minor, op. IL
There was a time when Mr.. Paderewski
compelled a realization of the fact that
in the arietta of his sonata in c minor
Beethoven carries the soul of man as
near the gates Of heaven as it is pos
sble for the art of music 70 carry It.
Never was Beethoven so much In the
spirit, like st. John on Patmos, SO
transiigured as when he lost himself in
the raptures Of these variations. But
that was before the virtuoso had be
come so Indifferent as he has been OF
late years TO the sensuous beauty OF
the pianoforte tone.
Tho spirituality OF this music Il
largely wrapped up in the native voice
of the instrument. 1t not only wants
no other expression, il can brook NJ
other mode Of utterance. IL is ecstatic
ethereal-no other instrument car
speak its language. And it is deplorablt
that Mr.. Paderewski, of all men, should
seem to have forgotten that fact, anc
to have associated a song which is like
that of the denizens of the higher re
gions 'twixt heaven and earth with
iangling bass and clustering and CLASSY
treble. There was less Of this in the
arietta, fortunately, than in the first
movement, and in the first and conclud
ing sections of his own sonata-bui
there was still too much of it to per
nit the whole-souled enjoyment chal'
lcnged by the inimitsble manner IN
which he sang the melodies in the
music and the marvellous exposition
OF it's harmonic structure.
OF what happened in the second part
Of the programme, when he had music
by Chopin. StojowsN and Mendelssohn
as transcribed by List (the "Midsum-
mer Nights Dream" Fantasia TO IN
terpret. we cannot speak. 1t is not
necessary that we should do so, for all
that is a more than twice-told tale.
But there remains the duty, urgent as
IL is delightful to say, that the per
formance of Schumann's "Paplilons
was in every respect such Ie'eia'lon
of the external and internal loneliness
of the composition as PaderewsN alone
can give.
with the Sonata in E-fat minor we
became acquainted ten years ago. 1t
was new then, but yesterdays per
formance, despite its disregard at
times lin the first and la-' "'ov.o'
,--~4-> Of the voice, In which It's
proclamation should Cor might Dc
','.' compelled again deep admira-