Par 1 Moses [or Moissaye] Boguslawski, pianist, gave a recital yesterday afternoon in Jordan Hall. His program was as follows: Weber, sonata in A flat major, op. 39; Schumann, "Scenes from Childhood"; Rubinstein, prelude, op. 75; Brockway, romance, E major; Schubert, "Moment Musical"; Gabrilowitsch, "Caprice Burlesque"; Liszt, six caprices after Paganini. . . .

Par 2 It is true he played a sonata, but not one of Beethoven's last; not one by Brahms; not the tremendous one by Liszt; but a sonata by Weber, who was in his day a brilliant pianist as well as a composer of romantic operas and the obliging friend of a clarinet virtuoso. Some are deterred from playing Weber's sonatas because learned men have said that they were not true sonatas; that they are loose in form, loose as ashes. The same has been said of Chopin's; nevertheless misguided pianists still play them, and ignorant and misguided persons find pleasure in hearing them. It is a relief to find that accomplished musician, Vincent d'Indy, saying that Weber's should be studied as a treasure-house of invention, as works characterized by the romanticism that was a protest against the Italian opera and French music of Weber's day; and he points out the dramatic and sometimes tragic nature of the first movements of these sonatas.

Par 3 The sonata in A flat, composed 1814-1816, was first played by Weber in the latter year. It is dedicated to Franz Lauska, a famous pianist and piano teacher of his day, also a fertile composer. The Prussian princes took lessons of him, but his most illustrious pupil was Meyerbeer. The first two movements of the sonata are still interesting; the menuetto is still a brilliant parade piece in an ingenious manner and it must have made a surprising effect 100 years ago; only the rondo now seems wholly vapid with its perfunctory ornamentation.

Par 4 As before, Mr. Boguslawski showed that his studies had been sound and well directed. His technic is fluent; his runs are smooth, now pearly, now brilliant; his trill is secure. But this year he proved that he was more a master of tonal variety, nor did he abuse his strength so violently as before; in fact, his touch, even in fortissimo passages, was agreeable. Mr. Boguslawski, however, is to be praised for not turning Schumann's "Traeumerei" into rank sentimentalism.—Boston Herald, November 18, 1917.

Par 5 Moses Boguslawski, pianist, gave a recital yesterday afternoon in Jordan Hall. Mr. Boguslawski has a very considerable technic, and he often played in a manner poetic as well as virile and brilliant. It was a pleasure to hear the long forgotten A flat major sonata of Weber. This is a work which can afford to be revived. It was once a great piece for great pianists. It has been passed over, probably temporarily, for music of a more modern and mordant character. But the music which Mr. Boguslawski played with contagious enthusiasm, if not with the utmost finesse, glows with youth and poetry, and would be a welcome change once in a while from the great F minor sonata of Johannes Brahms, or the B flat minor sonata of Frederic Francois Chopin which has been played ad infinitum by concert pianists of late seasons.

Par 6 The "Scenes from Childhood" were performed with most beautiful and illusive effect. In this music, and in other pieces by Rubinstein, Howard Brockway, Schubert, Gabrilowitsch and Liszt, Mr. Boguslawski showed his true musical feeling, his straightforward, manly conceptions, his sense of virtuosity.—Boston Post, November 18, 1917.

Par 7 A pianist, named Moses Boguslawski, came last season and gave a New York recital of more than ordinary success. Yesterday afternoon he appeared again at Aeolian Hall with the added confidence and maturity of a year's experience, and quite surprised even those who had heard him before. The enthusiasm of his audience seems to justify his announcement of another recital in the near future.

Par 8 Weber's sonata, op. 39, gave him a chance at the very start to show the crisp sureness of his touch, his good command of phrasing and his delicate sense of form. Schumann's "Scenes from Childhood," played with much imagination, were followed by a Rubinstein prelude, a well-written romance by Howard Brockway, Schubert's familiar "Moment Musical" and a striking "Caprice Burlesque" of Ossip Gabrilowitsch.

Par 9 An unusual finish was given to the program by grouping Liszt's transcriptions of six Paganini caprices, including the hackneyed campanella. In the latter his exaggerated trill and the rippling runs in the right hand were dazzlingly executed. Mr. Boguslawski will be heard again with pleasure.—The Mail, New York, November 14, 1917.

Par 10 Moses Boguslawski, a young pianist, gave the first of two recitals in Aeolian Hall yesterday afternoon. He plays well, with sincerity and a touch of real musical value. His program, out of the usual run, included a Weber sonata, the "Kinderscenen" of Schumann, and shorter selections by Rubinstein, Brockway, Schubert, Gabrilowitsch and the six Paganini caprices, arranged by Liszt. Charming was his unaffected playing of the delightful bits which Schumann composed for his wife about the time of their marriage.—Brooklyn Eagle.

Par 11 Moses Boguslawski, a pianist who last year did excellently, was heard in recital yesterday afternoon in Aeolian Hall. Schumann's "Scenes from Childhood" and a Weber sonata were his main offerings. Mr. Boguslawski's playing is above the average and his recitals are worthy of attention.—New York World, November 14, 1917.

Par 12 Moses Boguslawski, pianist, who wended his way Eastward for the first time last season, has this year dete[r]mined upon a double assault on New York. He delivered his first yesterday afternoon in Aeolian Hall, and purposes a second recital there on the evening of November 24. Mr. Boguslawski is a welcome revisitant, for he again showed himself yesterday to be a thoughtful artist and a decidedly well equipped pianist.

Par 13 Mr. Boguslawski presented an unusual program, beginning with a seldom heard sonata of von Weber and containing, among other things, the six "Paganini Caprices" of Liszt. Schumann's "Kinderscenen" formed a goodly part of his list, the naively poetic appeal of which Harold Bauer brought back to concert programs after long absence by resurrecting them some five years ago. Mr. Boguslawski was not quite so happy in the Schumann pieces, as he was in the other music he played, particularly the Weber sonata, to which he contributed justness of style and facile technic.—New York Journal, November 14, 1917.

Par 14 Moses Boguslawski, pianist, who had been heard here once before, gave a recital yesterday afternoon in Aeolian Hall. His program was compos[e]d entirely of music of the Romantic school, beginning with Weber's brilliant sonata, op. 39. Then followed Schumann's "Kinderscenen" and pieces by Rubinstein, Brockway, Schubert, Gabrilowitsch and Liszt. The last named was represented by the "Paganini Caprices."

Par 15 Mr. Boguslawski confirmed the good impression made at his previous appearance. He is a pianist of excellent qualities, chiefly in the domain of beauty of tone and clarity of technic. His finger work is generally of a high order and he has a good sense of rhythm and musicianly taste in the treatment of the phrase. His tone is always musical and his pedaling well planned. He was heard by an audience of good size and warmly applauded.—New York Sun, November 14, 1917.

Par 16 "If this is the Boguslawski, what must the real lawski be?" was the question asked at yesterday's recital in Aeolian Hall, by an admirer of this Russian pianist. He was heard in an old fashioned Weber sonata, as well as in Schumann's "Childhood Scenes," and pieces by Rubinstein, Schubert, Brockway, Gabrilowitsch and Paganini-Liszt. Mr. Boguslawski has full control of the keyboard, and he played this music like one to whom many of the inner secrets have been unlocked. He will give another recital in the same hall on Saturday evening next week.—New York Evening Post, November 14, 1917.

Par 17 Moses Boguslawski, a young pianist who made a promising first appearance in New York last season, played again yesterday in Aeolian Hall. His program was not of the usual sort; it began with Weber's A flat sonata; Schumann's "Scenes from Childhood"; six of Paganini's caprices arranged by Liszt, and pieces by Rubinstein, Howard Brockway, Schubert and Gabrilowitsch. Mr. Boguslawski played sincerely, brilliantly, and with taste and musical feeling. His technical equipment carried him safely through many difficulties.—New York Times, November 14, 1917.

Par 18 Moses Boguslawski, a young pianist who appeared here for the first time last Season, gave a recital yesterday in Aeolian Hall. The audience gave to him a cordial reception. He plays short, light works charmingly. Schumann's "Scenes from Childhood" was presented with beauty of tone and finesse. His most ambitious contribution was Weber's sonata, op. 39, which is seldom heard here. Among the interesting numbers was a romance of Howard Brockway, an American composer. American compositions for piano are not often played, but this was well worth a hearing.—New York Herald, November 14, 1917.

Par 19 Moses Boguslawski, pianist, who made a favorable impression here last season, gave a recital in Aeolian Hall yesterday afternoon. Mr. Boguslawski has a musical touch, a well developed technic, and a straightforward, earnest habit of playing. He played very well indeed. A long program continued with Schumann's "Scenes from Childhood," short pieces by Rubinstein, Brockway, Schubert and Gabrilowitsch, and the six "Paganini Caprices" of Liszt. An audience of moderate size applauded the player copiously.—New York Globe, November 14, 1917.

Par 20 At Aeolian Hall in the afternoon Moses Boguslawski, a young pianist who made a favorable impression at his first appearance here last year, again proved himself a capable artist. The Weber sonata, op. 39, he played with much technical fluency, precision and a potent sense of rhythm. It was essentially the reading of a sincere and well-poised musician.

Par 21 Amid the veritable torrent of pianists which the season has already forced upon us, Mr. Boguslawski keeps his head well above the average. Besides the Weber sonata, there were on the program Schumann's "Scenes from Childhood" and Liszt's six caprices after Paganini.—New York Tribune, November 14, 1917.