Evening star., 1923-01-24
Fritz Kreisler.

- Fritz Kreisler, universally the ac-
claimed master Of the violin. just as
Paderewski is the master of the piano.
played to house overfiowing with
people eager to hear the graf Aus
trian in his first concert here this
season. This was one OF the high
spots in the concert season. The
crowds which filled Polls with en-
thusiastic applause after each number
would not leave the theater until MT:
Kreisier had played four enchores
following the conclusion Of his PRINT
ed program. The mature poise ana
inpersonal attitude of. the master
toward this great ovation in honor
OF his genius only added in endeaF-
ing him to his host OF admorers.
The first number on the program
was Grieg's last and best sonata
for the violin, the Sonata in z MI
nor" The first movement, allegro
motto appassionato, was 1aultiessiy
played. but the second movement, al
iegretto ALA romanza. with its piz-
zicatto notes, was more replete with
coloring of the great Norwegian
music that has become so familiar TO
American audiences through his pop,
ular Peer Gynt suites. The third
movement, allegro animate, was In
distinctly Kreislerian style and per-
haps the most popular Of the three.
The second number, Max Brucn s
Concerto in G Minor" also was given
in a manner that left the most crit
ical in a state of utter enthusiasm
Probably the most popular of the
three movements of this concerto was
the final movement, allegro energico.
The audience did not allow Mr.. Kreis-
gave his own arrangement of La
Gitana," which he uses in his light
opera, Apple Blossoms"
The third and final group opened
with Cyril Scott's Lotus Land"
which was -deftly interpreted on the
piano by Nine. Samaroff just last
week. All who heard the piano Ver-
sion and then heard kreisler felt
that the violin was more the ideal of
'the two instruments for playing this
composition and securing all the
poignancy of the oriental motif and
the delicate pattern of music woven
about 1T. Lotus Land" was, how
ever, originally written for the piano.
sition, 'Polichinelle," a seranade ver-
sion of this popular theme. Any one
who heard this melody anywhere
who had ever heard the composer
Play. Play would know it to be his compc-
IIicality that is typically Kreislerian.
IL was SO popular that Mr.. Krsisler
His arrangement of Farewell to
Cuchullan." the old Londonderry air
or ireland, followed. giving a note
of pathos. Paderewskis lovely Min
det" followed. Kreisler's violin YER
sion closely follows PaderewskPs
own piano Interpretation of the color
ing OF the "Minuet" and was one of
the most delightful things on the en-
tire program.
The last two numbers were Rimsky-
korsakoff's "Chanson Arabe" and
Dance Orientale." When one con-
siders that it was Kreisler's playing
of this Russian composers "Chanson
Indoue" which really created the
great vogue forthat song that exists
today, it is unnecessary. to add how
perfectly he played these two num-
bers, both of which are unusually at
tractive.
Mr.. Kreisler then proved his genial
ity by responding to the thunderous
applause of his glowing audience
and played four of the compositions
: that are inevitably linked with his
name. They were the "Serenade Es-
paenole" Schaminade Kreisler }.
''Vfennese Melody" (Gaertner- r-krels-
ler), THE Old Refrain" (Kreislero:
and Ballet Music from Rosamunde
(Schubert- reisler). The ovation
still continued, but the master was
too exhausted to do more than bow
again and again IN acknowledg-
ment of this appreciation.