THE KETTEN CONCERTS.

Globe, Volume XXII, Issue 2137, 30 December 1880, Page 3

THE KETTEN CONCERTS.

The third of the series of concerts by Chevalier Ketten was given last night, and was to the full as enjoyable as those which have preceded it. The opening number was the celebrated “ Sonata Pathetique ’’ of Beethoven, which was interpreted by the chevalier in a manner worthy of his high reputation. The three movements were all given with much effect, but if preference could be expressed it would be for tho adagio, the tender, delicate melody of which was admirably rendered. Tho joyous chords of tho last movement also stood out in great contrast to tho one preceding it. After an “ Impromptu ” by Schubert, in which the rippling melody of the treble, combined with the deep roll of tho bass chords, made up one harmonious whole, and a delicious nocturne of Chopin, the chevalier played what, so far as execution ia concerned, waa certainly tho most wonderful ho has yet performed. This was Gottscbalk’s “Banjo,” in which tho peculiar intonation of that instrument came as it wore through a mass of melody surrounding, not drowning, but rather supporting it. Tho wonderful, almost magical power of execution displayed by the chevalier in this item thoroughly roused tho audience. Tho next two numbers were transcriptions by Chevalier Ketten of what may be called specimens of the powder and patch era of music, being a composition of Martini and a selection from Gluck. The stately music of the period was enriched and embellished by the more modern ideas of the transcriber, and both numbers wore given with great power by tho performer, whilst preserving tho peculiar style of the composers. Weber’s celebrated “Invitation to the Waltz,” played as only Ketten could play it, closed the first part, Tho second portion opened with a charming little “ Spinnlied ” by Mendelssohn, full of the dainty conceits of the composer, wbich scarcely received that amount of recognition at the hands of the audience that it deserved. Then came a grandly beautiful paraphrase by the chevalier on themes from “Bigoletto,” bringing out in bold relief his power of producing massive effects of light and shade and lightning changes of time. This waa a great treat, as was also the “ Etude ” of Ohopin, of whom tho chevalier appears to bo an ardent admirer, as he ia a brilliant exponent. The two next numbers exhibited in a marked degree what we have already remarked upon, viz., the astonishing power of the chevalier, both as a composer and performer, to describe by musical compositions any given scene. The first was a Spanish dance, and one could almost Bee the flying feet and flowing veils of tho Spanish senoritas, and hear the refrain of the guitars. It only wanted the applause of tho onlookers to make the thing complete. Then came the most vivid of all, “Tho Postillion.” In this the crack of the whip, the clatter of the horses’ hoofs, the jingle of the harness and even the refrain of the postillion himself—some song of the country hummed to beguile the way—Were reproduced with startling fidelity. The programme fitly closed with a grand exposition of the genius, though somewhat erratic, of Wagner, in tho shape of the “ Tannbauser March,” a transcription by Liszt. This_ was a splendid performance, the march bringing to one’s mind tho tramp of a body of mailed warriors perfectly irresistible in its way. To-night a fresh programme is announced, and we hope to see a large audience.