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Musical Courier 1901-12-25: Vol 43 Iss 1135, 1901
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1FANNIE BLOOMFIELD-ZEISLER.
2New York Critics to a Man Agree Concerning Her Art.
4THERE are a few living artists of whom even the greatest critics cannot find anything new to say, and Mme. Fannie Bloomfield-Zeisler happens to be one of them. For years this wonderfully gifted woman has swayed vast audiences by her playing as probably few women of her time have done. Having now reached the highest plane of her art it is not surprising that she inspires writers of varied temperaments to concur in their opinions about her. Herewith we republish extracts from the New York criticisms of Madame Zeisler's November recital in Mendelssohn Hall:
6THE CELEBRATED PIANIST GIVES HER FIRST RECITAL IN THIS CITY.
8The musical temperament has its drawbacks; one of them is capricious uncertainty. We saw this illustrated yesterday afternoon at Fannie Bloomfield-Zeisler's first recital given in Mendelssohn Hall. The playing of this pianist is usually compounded of smoke and flame; she is volcanic rather than classic, and always avoids the pose academic. But during the first half of her program yesterday Madame Zeisler gave an exhibition of self-control that was surprising. Her reading of Beethoven was objective; her Chopin numbers were neither sentimental nor chilly, and until the "Eroica" Polonaise was reached the slight, intent figure before the keyboard revealed naught but poise, intellectuality and a fine control of the mechanics of her art. When, however, the trio, the "drum" trio, as it is often called, was sounded the spell began to work, and from that time until the close of the concert the whirlwind let loose and the Bloomfield of old carried her audience with her.
10It was a various program that she interpreted: Gluck, as dished up by the too busy Saint-Saëns; Beethoven's last C minor Sonata—he wrote three for piano solo. * * * For the inevitable recalls the pianist gave a posthumous valse of Chopin in G flat and the Schubert-Tausig "Marche Militaire," the one with surprising delicacy, the other with thunderous climaxes. The nervous intensity and power in building up the tonal edifice again demonstrated that brain, not brawn, is the dominating factor in piano playing, as it is in politics and pugilism. Beethoven's last Sonata is a favorite of Madame Zeisler's. She infused more atmosphere into the first than into the second movement. Brilliant was the G flat study of Chopin—the second of the pair in this tonality. It had to be repeated. So was a Florodorian sort of a valse by Schuett, a most sentimental sop to the many lovers of dance rhythms present. Altogether the afternoon was a rare one, for the qualities in this artist's work are unusual. She has style, individuality, temperament—a trio difficult to match. The audience was goodly in size; best of all, it was not an invited one. How few pianists can say the same of their recitals?—New York Sun, November 17, 1901.
12A VIRTUOSO RECITAL.
14Mrs. Fannie Bloomfield-Zeisler gave a recital yesterday afternoon in Mendelssohn Hall. There was a large audience, a fact which needs to be mentioned, because it is not the rule at piano recitals, and an abundance of applause, which is not at all usual where music is performed by a soloist. Let it be recorded that on this occasion the applause was almost always deserved. The program was one designed to exhibit Mrs. Zeisler's powers as a virtuoso pure and simple rather than as an exponent of the highest and deepest things in music; yet there was opportunity for her to show her musicianship and her stature as an artist in the performance of the great sonata of Beethoven, op. 111, which was the second number on the program. * * *
16Mrs. Zeisler's nervous organization is, after all is said, the substantial basis of her extraordinary fascination as a player. The second movement, the wonderful theme and variations, was performed in a manner to call for nothing but admiration and gratitude. It seemed as if here the player had mastered herself, for she read the movement with profound feeling, with technical beauty and with a beautiful artistic poise. It was piano playing of the highest order, and sustained the reputation of this artist.
18Before the sonata, Mrs. Zeisler played the familiar Saint-Saëns Caprice on Gluck's "Alceste" ballet music with charming crispness and clarity. After the recital, in answer to enthusiastic recalls, she added to her list the Schubert-Tausig "Marche Militaire" and a Chopin Valse.
20Those who are familiar with the literature of the piano will see that this was a virtuoso program. Let it be recorded, then, that the pianist played most brilliantly. Mrs. Zeisler is a pianist of tremendous technic, of intense temperament, of dazzling style. She can amaze an audience with such startling rapidity of crisp staccato utterance as she showed yesterday in the "Butterfly" Etude of Chopin, and with such delightful singing tone as she produced from the instrument in the cantabile of the nocturne. She will never fail to delight the general public, which is hungry at all times for displays of virtuosity. But Mrs. Zeisler can play poetically, too, and when she does she rises to heights not passed by any other woman player now before the public.—New York Times.
22The musical season thus far seems to be productive principally of piano recitals, and from that point of view Madame Zeisler's concert yesterday afternoon at Mendelssohn Hall was quite in the order of things. But the recital in itself differed so widely from all that has gone before it that it stands alone. What the abilities of Madame Zeisler are as a pianist was made known to the local audiences long before yesterday, but with an artist of her caliber every new presentation is of interest, even though her interpretations be known intimately to the auditors. Such was the case at this affair, where, with few lapses, due principally to mediocre compositions, she succeeded in holding the attention throughout the entire long afternoon.
24Her program began with that airy caprice by Saint-Saëns on airs from Gluck's "Alceste," which she played with rare grace. Then followed that tremendous last Sonata by Beethoven, a Titanic work which taxes the resources of the most able and intelligent of pianists. Madame Zeisler handled it in a masterly manner; and what her reading lacked in poetry it atoned for by a noble breadth. There was little sentiment in this playing of the sonata; but if at times the outlines were uncompromising and severe they at least defined classically the heroic contents.
26After this came a brace of numbers by Schütt. The former of the two, a theme and variations, with a fugato as a coda, showed little inventive ability, but some skill at handling. The succeeding Chopin group opened with the Nocturne, op. 37, No. 2; the "Butterfly Study" was taken at a whirlwind tempo. The familiar A flat Polonaise was delivered with a beautiful command of all the effects—a striking broadness, freedom from the hurry so usual to this piece and a careful grading of dynamics. So well was it done it actually sounded new.
28The second half of the program was made up of a Leschetizky etude, two selections by Moszkowski and the Rubinstein "False Note" study, which was done dashingy. For the close there was the Strauss-Tausig waltz, "Man Lebt Nur Einmal," which Madame Zeisler played with an admirable amount of interest and charm. For encores she pleased the enthusiastic waiting ones with the little posthumous Chopin Waltz, op. 70, No. 1, and the inevitable "Marche Militaire," which she plays infinitely. Several of the numbers were repeated, and there was much applause.—New York Tribune.
30Mme. Fannie Bloomfield-Zeisler, who is in the very front rank of woman pianists, gave a recital in Mendelssohn Hall yesterday afternoon. The audience filled the hall.
32The pianist's program was very varied—Gluck, Beethoven, Schuett, Chopin, Leschetizky, Moszkowski, Rubinstein and Strauss. These pieces were played with impeccable technic, and, as in the case of Chopin's Polonaise (op. 33, with the cavalry charge), with immense verve, or, as in Schuett's "A la Bien Aimée," with much chic, and again, as in the Chopin Nocturne (op. 37, No. 2), with great tenderness.
34No less than five numbers were encored.—New York Herald.
36Fannie Bloomfield-Zeisler, who has been dubbed a "temperamental" pianist, gave her first recital this season at Mendelssohn Hall yesterday afternoon. She was greeted by a friendly and appreciative audience.
38When in best mood this artist ranks with the great in her art, and yesterday she was in such a mood. She played superbly, with lots of her irresistible dash and energy and with her emotions pitched in a high key.
40The program exhibited her wide range of expression. Saint-Saëns' caprice on ballet airs from Gluck's "Alceste" was daintily executed. Beethoven's Sonata, op. 111, was given a sturdy interpretation. Schuett's sentimental waltz, op. 59, No. 2, gained in dignity at her hands, and Strauss' "Man lebt nur Einmal," as translated by Tausig, was a marvelous display of technical agility.—New York World.
42BLOOMFIELD-ZEISLER RECITAL.
44When one is fresh from a recital like that presented to us in Mendelssohn Hall yesterday afternoon, it is exceedingly difficult to write a criticism which will read sanely to those who were not there. Fulsome praise is enervating, but that is about the only way one can treat a pianist of the scope of Madame Zeisler. With this artist the growth into a great player has been of gradual development. Everything has broadened and ripened; heart, intelligence, powers of analysis and technic. She seems to possess every attribute necessary to a latterday pianist. Her rhythm, her accent, the clear outline she presents of each change and development of a work, her polyphonic seventh sense, her triumph over the mysteries of dynamics, her singing tone and ability to accumulate a colossal and ever growing climax, her gorgeous pedaling, the ability to subordinate the accompaniment to a melody, to a nice, the balance, repose, color and warmth of it all—one pauses for breath when not half through the list of her excellences. Beyond all, she does not serve up to us sentimentality. Madame Zeisler is not afraid to put cheerful music on her programs.
46The Gluck number, opening the recital, showed at once with what variety she can treat a theme in variation. She gave it fresh life. The Beethoven Sonata was majestic, indeed, in its opening. She thundered out the first bars with a fine perception of their dynamic requirements. The Arietta was played as we seldom have heard it before, its legato nature being respected perfectly.
48The balance of the program was made up of compositions of "piano music" nature. The G minor Etude and Polonaise of Chopin revealed the fact that Madame Zeisler understands and can cope with the difficulties Chopin threw out upon the world. The last ten numbers were of the brilliant order, requiring pearly runs, clarity in staccato passages, &c.
50As encores she played a posthumous Chopin waltz, Liszt's "Liebestraum," No. 3, and the Schubert-Tausig "Marche Militaire." This closing achievement was stupendous. It was started in a leisurely manner and gradually developed to climaxes which were almost overwhelming.
52All in all, it may be said that Madame Zeisler is a great and fascinating expositor of piano literature.—New York Press.
54ZEISLER'S PIANO RECITAL CHARMS.
55Western Musical Genius Gives a Performance that Delights All Hearers at Carnegie Hall.
57Music lovers spent an enjoyable afternoon at Mendelssohn Hall yesterday, when that Western queen of the piano, Fannie Bloomfield-Zeisler, was heard in recital.
59Her program, which was of a goodly length, contained some novelties of interest.
61Madame Zeisler undoubtedly stands to-day at the head of feminine pianists the world over. Rarely, indeed, does one find all the qualities combined that go toward making a great artist, as in her case. The Arietta of the Sonata is a lovely song, entirely in the great master's lofty vein, with some fascinating variations, at times bold and tricky, at others dainty and limpid.
63The trills and delicate finger work of the variations were beautifully executed and the rhythmic division and contrasts in the whole composition were marked with the incisive clearness which is always a delight to Madame Zeisler's hearers.
65If there is occasionally a harsh tone it is pardonable in a nature so highly strung, so full of musical fire. Indeed, her playing is so full of dash and snap and sparkle that it would not be surprising to see sparks fly from under her fingers.
67Schuett's theme and variations proved to be a sound musical contribution, not as conventional as the usual sort. His value is pleasing, but would not sound refined under the fingers of all pianists. Madame Zeisler infused it with so much grace and real Viennese chic, as well as brilliance, that her audience were bound to have it again.
69The G flat Etude was like a gust of wind, and the great, noisy Polonaise, with its middle movement, that is often likened to the treading of horses' hoofs, was stupendous, almost carrying away the roof as well as the audience. This was always Carreno's battle horse, but Zeisler seems to put even more energy into it. She sang the melodic part most beautifully.
71Leschetizky's Etude, with its intricate double notes, was perfect, and Moszkowski's number received the interpretation to accord with its character. The audience gave abundant evidence of its appreciation.—New York Journal.
73IS MISTRESS OF THE PIANO.
74Much Poetic Feeling and Great Command Expressed in Rendition of Famous Compositions.
76Here is a woman who can provoke the piano to poetic utterance and turn into a delight a program which at the mercy of some might be a bore. This recital was her first in New York this season. She gives another next Tuesday afternoon, and it is recommended to those who find pleasure in the piano as a solo instrument. They would find better returns for the pains by attending than by giving patronage to some of the noted foreign performers who visit these shores.
78Mrs. Zeisler's program, on its face, did not look particularly interesting. Aside from the Beethoven Sonata, op. 111, and three Chopin numbers, the Nocturne, op. 37, No. 2; the Etude, op. 25, No. 9, and the Polonaise, op. 53, it contained nothing which the average virtuoso, especially if just over from Europe, would have selected. But under the fingers of Mrs. Zeisler each assumed, for the moment at least, delightful importance. Those which bore out this assertion most intimately were two pieces by Schuett, the waltz, "A la Bien Aimée," and the theme "Variet Fuzato," the latter of which was dedicated to the pianist, and two Moszkowski numbers, "Gondoliera" and "Impatience."
80The recital began with Saint-Saëns' caprice on airs from the ballet of Gluck's opera, "Alceste." Here Mrs. Zeisler revealed her facile finger work and her command of pure tone, in rapid writing rather than any deep feeling and strong imagination. That was to come later in the Beethoven and Chopin numbers and the Schuett waltz.
82The pianist began the Beethoven Sonata in an aggressive manner, which somewhat dismayed those who know this composer.
84But her mood melted with the coming of the slow, gentle movement, and she continued to the end with tenderness and sympathy, impetuosity and emotion, according to the demands of the musical ideas.
86In the Schuett waltz, Mrs. Zeisler displayed a delicate and naive fancy and a pretty skill at the fine tone contrasts. It was with Chopin she most pleased, however. The Nocturne was done with the warm sympathy which must above all things be apparent in the interpreter of Chopin, one who would play upon the senses of the auditors.
88Mrs. Zeisler reached her climax by riding triumphantly over the manifold tonal, rhythmical and technical difficulties of the Polonaise. Here she exhibited muscularity and musical breadth quite masculine, and gave comparative pleasure with something which
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