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4 Review of a Concert by M. R. in Manchester November 23, 1900 Arthur Johnstone An exceedingly remarkable performance of Schumann’s Pianoforte Concerto was given by Mr. Rosenthal and the orchestra. In no other performance that we remember was the balance between orchestra and solo part so well preserved. Mr. Rosenthal played with his usual perfection of technical mastery; his phrasing was beautifully intelligent, and the distinction of his style was to be noted no less in the homely sweetness and graceful fancy of the Intermezzo than in the rich and complex Allegro. Again, in the ¤nale, his marvelous accuracy and¤ne phrasing enabled the hearers to enjoy every nuance of the composition, notwithstanding a tendency to hurry that was perceptible at certain points. The tremendous Don Juan Fantasie, for pianoforte alone, gave Mr. Rosenthal an opportunity of exhibiting his technical powers in one of the most audacious bravura compositions that exist. In many persons the ¤ne frenzy that rages through the middle and latter parts of this piece awakens no sympathy. It has, nevertheless , a legitimate place in the Palace of Art, being nothing more than the logical development to the highest possible point of the bravura style that originated with Liszt. The latter of the two variations on “Là ci darem”—that section which precedes the entry of the champagne song—is the most bewildering and repugnant part of the piece to the general public. For that reason, and also on account of its heartbreaking dif¤culties, the variation in question is often omitted . But Mr. Rosenthal omitted nothing yesterday. He hurled forth the Dionysian declaration of war against all the chilly conventions and proprieties, the priggeries and pruderies of Mrs. Grundy, that forms the real content of the piece,with that technical power in which he is surpassed by no living performer. After many recalls he was constrained to play once more; and, by way of the sharpest possible contrast, he gave Chopin’s Berceuse, bringing out all the delicate moonshine ¤ligree of the right-hand part with in¤nite subtlety. Collected in Musical Criticisms of Arthur Johnstone (Manchester: At the University Press, 1905), pp. 165–166. ...

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