THE KETTEN CONCERTS.

Globe, Volume XXII, Issue 2135, 28 December 1880, Page 3

THE KETTEN CONCERTS.

The first of the series of concerts to be given by Chevalier Ketten took place last night at the Oddfellows’ Hall. The reputation which the Chevalier brought with him inclined us to look for a great musical treat but the anticipation, contrary to the usual order of things, was more than justified by the reality. We have had the pleasure here of hearing a number of first-class pianists, who have come to us with European reputations, but Chevalier Ketten stands far and away the premier of all. His execution is wonderful. There is no other word to characterise it. The piano, under his hand, appears to be transformed, now swelling forth in full chords resembling an orchestra, and anon sinking into the purest thread of melody, dying in cadences of linked sweetness long drawn out. To attempt by means of words to describe Chevalier Ketten’s playing is perfectly useless. _ One might exhaust all the superlatives attainable, and then fall short of explaining the marvellous power, the will which seems for the nonce entirely to transform the instrument beyond a mere combination of strings, and make it the vehicle for interpreting the thoughts wedded to sweet sounds of the high priests of music. The opening piece, Beethoven’s sonata in O Major, at once stamped the Chevalier as an artist _of high rank. This is known as the Waldstein sonata having been dedicated by the Maestro to Count Waldstein. The three movements—the brilliant allegro, the stately adagio, and the finale — played with a rapidity and a power of execution seldom or never equalled—were given in such a manner as to rouse the audience at once into enthusiasm. Three pieces of the chevalier’s followed, a quaint gavotte, a piece named “Marguerite auEouet,” and the weird “Konde des Djinns.” The latter resembled, from the weirdness and wild beauty of its composition, the music of the “ Walpurgis Night,” and it is needless to say received ample interpretation at the hands of the chevalier, A presto movement by Mendelssohn in E minor followed, displaying the wonderful command over the key-board possessed by the performer. The brilliant succession of intricate variations and runs were executed with a skill and precision which can only be appreciated by hearing them. Then, in strong contrast, came a lively little gem in the shape of a berceuse by Chopin, the concluding notes of which appeared to die away in the far distance. The soothing, lulling strains seemed to flow in one continuous stream of melody until one hardly knew that it had ended. The chevalier’s transcription of Beethoven’s march from “ The Enins of Athena ” was in itself a wonderful piece of descriptive music. The peculiar barbaric strains of oriental music were reproduced with such fidelity that one could almost imagine the hordes of barbarians advancing upon the classic city. This was one of the most charming pieces on the programme, from the wonderful power displayed by the performer in reproducing, as it were, by means of musical sounds, a vivid scene. The first part was closed with Liszt’s brilliant transcription of Mendelssohn’s “Wedding March.” This displayed in even a still greater degree the wondrous mastery of the instrument which is possessed by the Chevalier. Buns which by ordinary pianists are taken in single notes were achieved in octaves, and the most difficult and florid variations were executed with as much precision and success as an ordinary melody. In the second part, the Funeral March composed by the chevalier, gave him an opportunity of displaying again his great power of expression, and then came a pretty little minuet movement by Boccherini, and a quaint “Pasquinade” by Gottschalk. Most pianists include in their programme a transcription of “ Home sweet home,” but Chevalier Ketten’s rendering of the well known ballad differed entirely from that of his predecessors; commencing with the melody and variations, arranged for the left hand only, the performer then proceeded to execute a continuous trill in the treble with the right hand, the left still continuing the melody, interspersed with beautifully executed variations. Thus the air was, as it were, embedded in two series of variations, each differing in construction but forming a complete whole of beautiful combinations. A splendidly conceived and executed paraphrase on themes from “ Faust,” composed by the performer, closed one of the most delightful concerts we have had hero for many a day. In this the various gems of the opera were most skilfully interwoven with a brilliant series of variations from the theme, each in its turn coming forth and being interpreted with a pureness of touch and tone which confirmed amply all the eulogies the Chevalier has received elsewhere- To night a new programme will be submitted.