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THE
ZELDENRUST AND THE BALDWIN.
The Dutch Pianist Makes a Great "Hit" in Cincinnati
—The Press Bestows High Praise.
Eduard Zeldenrust, who made his debut
with the Cincinnati Symphony Orchestra,
Nov. 29th and 30th, under Van der Stiicken's
conductorship, made a sensational success,
and the magnificent Baldwin concert grand
which was used on this occasion, came in for
a liberal share of compliments from the fash-
ionable audience who attended these concerts.
The following clippings from two promi-
nent Cincinnati papers furnish an idea of how
Zeldenrust impressed the people of Cincin-
nati :
A GIANT OF THE KEYBOARD.
Eduard Zeldenrust was the soloist, and
it was his American premiere. He left the
impression of being a giant of the keyboard,
and, withal, a great musician. If there is
anything that is imposing in his playing
more than another it is his virility and
sense of rhythm.
His dynamic force
is more than astounding—it is colossal.
The first impact of his fingers sent a feeling
of the virility of his touch through the hall.
His playing of the first cadenza led the way
to a better realization of his force in the
brilliant and elaborate cadenza at the close
of the movement, which was played with
passionate vehemence and tonal grandeur.
But this tremendous force was not more
admirable than the tender poetic expression
which he imparted to the Adagio, and which
he invested with an exquisite contrast of
color. His runs in the final Allegro exhib-
ited colossal strength, and through it all
there was an absolutely clean technique.
The cadenza of the Finale was a climax of
pianistic power and played with great bril-
liancy.
Mr. Zeldenrust was called out several
times and played as an encore Liszt's ar-
rangements of "Der Liebestod," from "Tris-
tan and Isolde." It was a marvelous reading
from beginning to end of closely woven tex-
ture and orchestral in effect. In fact, the
Dutch pianist takes his readings from an
orchestral standpoint—in color, expression
and dynamic effects. It may be safely said
that the Grieg Concerto was never given so
dramatic and orchestral an interpretation in
this city before.
The Symphony programme w r ill be repeat-
ed at the concert in Music Hall to-night.—
The Enquirer, Cincinnati, Nov. 30th, 1901.
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RECALLED EIGHT TIMES.
Zeldenrust was something better than a
sensation yesterday afternoon at Music Hall.
He was a pianist to whom all thintjs else
were subordinate of the Grieg Concerto.
Dealing with the portrayal of fundamental
principles, placed in the setting of a land
where great mountains and wild winds, low
vales and gentlest zephyrs, produce great-
est elemental passions, the pianist flung him-
self tempestously into the work.
One crisp, incisive chord opened the al-
legro, followed by clear purling runs; then
the orchestra entered. Again, in another
tone color, he struck the next theme-giving
chords. It was clear-cut, vividly outlined,
but always as if something in his thought
urged him to more and more passionate ex-
pression. The orchestra felt this and re-
sponded. But there were surprises, for,
when the tensity was greatest, suddenly,
without a break, the massive harmonies
melted into pulsing tones of gentleness, as
if the moment of strife had passed suddenly
and completely.
The effect, as whole, was broad and
and this was especially true in the cadenza
in the first movement. Zeldenrust himself
M
TRRDE
portrays his thoughts best and describes his
performances, for he said:
"I feel as if I am in the midst of a most
terrible storm, that everything is going to
pieces and something dreadful is just ready
to fall upon me. I believe this is what Grieg
meant to portray. I may be wrong, but he
is in Norway, as you know; and there every-
thing in nature is on a great scale and of
greatest extremes. This piece to me repre-
sents the strife of nature, with victory as the
close."
One who watches the pianist go crashing
through the chords here written with ever
greater force and emotion, until he fairly is
lifted off the stool as he strikes the thundrous
bass, realizes that, whether or not this was
the original idea of the composer, the player
has fully expressed what he feels.
Yet, moments of tenderness are by no means
lacking, and in the very midst of the great-
est climaxes these appear. One of these,
in the first part portrays to Herr Zeldenrust
a love story, from the structure of the part.
Another character appearing in two of the
movements is the dance form of the northern
lands, brusque, almost uncouth, yet filled with
buoyancy and at times delicacy.
In the third movement the themes were
merged into a stately rhythm and it is here
that Zeldenrust feels that he is brought into
an august presence and broadens accordingly.
Summing up his playing, one would say
that he apparently cares little how he creates
an effect, so it is what he feels will impress
the hearer with the meaning of the work.
It is characteristic that in this concerto, when
one feels that the limit of climax has been
reached, and more force w r ould develop into
rant, there will come a chord or a note so
clear, gentle and peaceful that it is as.if a
small voice had said "Peace!'' and the fury of
the elements obeyed. His runs often glide
over the keys with crystal clearness, then
become wrapped in a mist as they ascend, and
end with a crisp snap, which, according to
Liszt, is as if one said "Bravo!" In addition
he has the strongest rhythmic feeling, and ac-
cents and phrases sharply.
The close of the first movement showed
that the pianist had won the audience, for
there was an outburst of applause from all
parts of the well-filled hall. As the crashing
chords brought the work to a dose a veri-
table storm broke loose. Twice ne bowed his
acknowledgements, and the third time he
gave an encore by playing Liszt's arrange-
ment for the piano of the music of Isolde's
death, from the Wagner opera. This is but
piano work not given before and but little
known as yet to musicians.
Over and over again he was re-called, the
applause rising wavelike until in all he had
returned eight times. Only the re-appear-
ance of Mr. Van der Stiicken with his baton
closed the ovation.—Cincinnati Commercial
Tribune, Nov. 30th, 1901.
Something Entirely
Chas. F.
Alberts
Artists'
Rosin
Composed of a ncwMix-
turc specially adapted
for Artists" use,
A PSYCHOLOGICAL STUDY.
'"THERE is a curious bit of psychology in
connection with the work of singers,
and one that if traced in all its ramifications
would spin out into a rather interesting story.
Of course, the question in its more general.
aspects has been dealt with by writers who
have paid special attention to actors and act-
ing, but there are some phases connected
with memorizing things that have been over-
looked. Ask the average man who is in the
habit of singing in public places to repeat a
verse from the song, and in ninety-nine cases
out of a hundred he would be unable to do
it. But he can sing it through without a
break, and without ever hesitating over a
word. This is perfectly natural. The words
have no place in the mind of the singer in-
dependent of the sound combinations which
make up the music. The words hang, as
it were, on the notes, and hence they cannot
be rolled from the memory unless the sounds
roll with them. This is observable when
singers are asked to repeat certain verses.
Actors show the same peculiarity in another
way. Take in the matter of incidental mu-
sic, which is used so often in plays where
the heavy villain makes his desperate strikes
and strides. Many incidents abound where
actors and actresses became fearfully con-
fused because the band failed to chirp in
at the proper time. The lines would blur
and become confused and indistinct. But
as soon as the band, would start, giving
out the slow, sad music which usually breaks
into the strongly-developed melodramatic
play, why the players are all right and the
lines begin to flow again as smoothly as oil.
Thus music, in cases where it is used in
committing parts to memory, becomes abso-
lutely necessary, and without it the mem-
orizing faculties become practically palsied.
This is true for the same reason that the
singer cannot repeat the words of a verse in
a certain song without repeating the sounds
which go with them. Psychology cannot dis-
miss these peculiarities with the mere state-
ment that it is a matter of association. It is
something more, for the pictures are lacking
in the case of the sound combinations, ex-
cept such pictures as may be found in the
notes of the musical scale. These are scarce-
ly thought of, as the particular tone is prob-
ably the main thing.
J*
MIL SAUER, who was heard in recital
in this country a few seasons ago, has
been honored by the appointment of Impe-
rial and Royal Professor at the Vienna Con-
servatory, and is the first musician in Aus-
tria to receive this title. The preference
paid him has. caused some trouble in the
Conservatory and several members of the
faculty have resigned, including some of .
the best known professors, who had been
there for many years. Sauer is to receive
about $6,000 a year salary, which is con-
siderably above the average paid any other
musician occupying a similar position.
Miss Augusta Cottlow, the pianist, will
play at the "union" concert with the New
PRICE
3Oc.
York Liederkranz and Anon at Carnegie
Hall, Dec. 8th, when she will be heard in the
After a trial you will use no other.
Weber "Concertstuck." Miss Cottlow will
cAsk your Music dealer or send to
be one of the soloists at the concert of the
Brooklyn Apollo Club, Tuesday evening 1 ,
CHAS. F. ALBERT
209 So. 9th Si,,
PHILADELPHIA, PA. Dec. 10th,