BOGUSLAWSKI GIVES RECITAL
Pianist Selects Sonata by Weber for
Program Presented In Jordan Hall
By Philip Hale.
Moses 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. . . .
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.
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.
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,
By Olin Downes
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
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.
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
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
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
BOGUSLAWSKI FINE PIANIST
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.
BOGUSLAWSKI ONCE MORE PLAYS
THE PIANO WELL
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,
Moses Boguslawski, pianist, who wended his
way Eastward for the first time last season, has
this year detemined 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.
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.
BOGUSLAWSKI SHOWS EXCELLENT
QUALITIES IN RECITAL
Moses Boguslawski, pianist, who had been heard
here once before, gave a recital yesterday
afternoon in Aeolian Hall. His program was
composd 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."
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.
"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.
MOSES BOGUSLAWSKI PLAYS
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.
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.
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.
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.
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.
Management: J. A. Cowan, Kansas City, Mo.
Eastern Management: Max Hart, Palace Theatre, New York
STEINWAY PIANO USED