Year: 1875

cHIcKERrSG HALL-INAuGURATIoN CONCERT by


HANS Won BULow.


very handsome and attractive music hall was in
augurated night at the corner Of Fifth and
Eighteenth street 1t fulfilled all requirements in re-
gard to acoustics and general comfort The arrange
or the auditorium is admirable comoin.
ing cosness and attracrveness, the principle OF
theatrical construction being adopted to certain
extent Hans Won Blow, who presided at the
inauguration, must have been entirely gratHed by the
hearty welcome he received from an audience as
fashionable and distinguished has patronized
place Of amusement in New York The hall was
crowded, full evening dress being adopted BY large
proportion of those present and the applause was Of
the most enthusiastic character. Dr. Leopold Dam
rosch with we'll selected orchestra assisted the as
tlnguished pianist The entire programme was devoted
to Beethoven six OF the immortal composers works
being presented Aner the very appropriate ntroduc-
tory overture, "Dedication OF the House, opus IA
written for Prince Galitzen which was rather coarsey
played abundant spirit hut little deltcacy q expression
being manifested by the band the pianist made ms ap
pearance aud greeted with such spontaneous ana


long continued outburs or applause that for some mo
ments he could only bow his Acknowledgements
The fourth concerto lopus So, in
major was the inaugural piano work The
hrst movement allegro moderate the piano alone be-
ginning with its simple little theme Of SIX measures
which il afterwards developed in such striking man
ner followed By the orchestra in major, modulating
back into the original key new subjects being then in


roduced il the moit charming manner, the instrument
tation becoming more rich and vivid in color as the
composer proceeds, was excellent Introduction for
the pianist


Grace and delicacy characterized his rendering o. the
beautiful piano passages that followed the first phrases
or the orchestra The fairy ike runs Of triplets,


..l.t
hand the chromatIc measures that seem to DO
spun by the fingers OF spirits, with the staccato
accompaniment in the bass, were delivered with
precision and expression that made them
entirely ineligible and delightful the verest musi-
cal tyro present AS the movement progressed and
vsias OF beauty revealed in the wonderful
development OF the principal themes and in the un-
expected episodes with Thich Beethoven delights 70
surprise the ear, the pianist seemed TO sink
entirely his individuality Of style and to become
absorbed in the spirit OF the music he was playing
The orchestra although far superior that which vas
furnished HIM in Boston, did not catch inspiration
from the pianist 10 extent calculated TO give fault
less rendering OF this movement They were not
sufficiently prompt at times in response TO the con-
duclors baton.


The andante con moto, which Is mbucd with the
very spirit Of poetry, vas played by Won Bulow with
feeling tenderness The declamatory phrases
Of the orchestra served as an admirable toll 70 the
prayerul, choral-kc uterances Of the piano. II IS
short number of seventy-iwo measures, but N deep
feeling and breadth OF treatment u Is one Of the bright
ct OF musical gems The ro'do o'eace which con
cludes tins exquisite work, and which requires the
utmost nicely Of treatment. was delivered by Won
Bllow with spirit and dash, the rapid passages,
for the right again for the left hand, being as clear
and distinct II each note was sparkling diamond.
The orchestra again failed TO keep up promptly with
him. ana III two or three passages maniiesy dragged.


The Sonata Appassionata topus 5Sl. in minor, was
the next work on the bill There IS no piano work Of
Beethoven except perhaps, the moonlight sonata,
that well known and as popular as this one It's
varied themes beautiful in their melodic character and
still more charming in their treatment and develop
10 attract the musical ear Won Balow's
rendering of this work worthy Of an artist Of such
rcnown There were perhaps passages which might
be dwelt upon tendery, ana occasionally the merry
style Of treatment had little poetry in II.
But the mastery and intelligent mode Of in
depreciation, the ccarness of the phfasng and the
absence OF anything like effort qualities that
shone in the playing Of the sonata The decisive theme
that ushers in the Introductory dUegr0 and its subse-
quent development into a series Of tone PICTURES the
chdlike expression OF the dnddnte motive with its
aulslte variations and the mpeuous rush Of he fRaie
III which lmpassoned dialogue to be conveyed,
were portrayed by the pianist with vivdness and
effect In the appassionata however there are notes
70 be caressed 70 speak chords to nger over and
Won Bnow, although he has gwen evidence Of being
possessed to degree Of the feeling Of poetry
Of this sonata


The last work the fifteen variations, with
ftgue and fnate opus IS, in fiat founded theme
from the last movement ~ The Heroic symphony"
Won Bdlows rendering Of this was indeed wonderful
The very simplicity q the subject one ofthrteen notes
only, and the ndsre manner IA which ap-
pears ia every variation, constitutes the difficulty
Of rendering Il with effect a iew bars make up each
variation and yet each has individuality Of its
winch must be carefully preserved There is
really similarity between any Of those
fifteen variations n treatment, and vet the
theme Is the The last variation LdrQo, Is
the most impressive of the entire series. II
delicatey and effectively handled by Won Bnow. The
concluding figure, with its poyphonc method Of treat
ment, Is a severe test for pianist, but last night
there not flaw in its Interpretation. Every part
stood prominently and as distinctly rs II there
were four Won Blow's the stage With like
number Of pianos instead Of one. The tempo
at which he took the fge fast that in less
pereaccd hands the result would have been disastrous
Won Bliow has thus successfully inaugurated a very
attractive hall and has proved himself worthy Of the
high reputation he has long enjoyed IN Europe aud
Of the tattering encomiums passed upon him IN BOs-
ton. The orchestra concluded the concert with the
"Egmontp overture.