The Indianapolis journal., 1896-03-15
NINE. BLOOMFIEI.D-ZEIsLER.
A Great Artist Appears Before the
Matinee Musicale.

Madame Fannie Bloomfield-Zeisler, one of
the greatest piano artists of the day, gave
a recital, yesterday afternoon, at the Propy-
laeum, under the auspices of the Matinee
Musicale. Mrs. Zeisler is a woman Of slight
physique and her power and endurance are
marvellous. When she interprets, it is with
a broad intelligence that one less endowed
than she could not reach. From the Schu-
mann "Etudes Symphoniques, Op. 13," which
was the first number, to the finale, the Liszt
arrangement of the "Erl King" there was
tremendous energy, vitalizing, as 1t were,
of the thought the composer had in mind.
The first number is interesting in its
riety of technical work. 1t Is one of the pur-
est examples of the etude and requires a
mental, as well as physical grasp. In con-
trast to it, We're the Beethoven 'Menuet,
Z fiat major" which had the exquisite
flavor Of an old wine rich and liquid, while
"Bagatelle, Op. 119, No. 81 was all too
brief, and was like a breath in its delicacy
and tenderness. Two other Beethoven num-
bers were the Chorus of Dervishes,' trans
cribed by Saint-Saens, and the Turkish
March," Transcribed by Rubnstein, from
ruins of Athens" The fire and impetuosity
of the first was like a whilrwind of sound
every note as clear and distinct as IL 1t had
not been surrounded by a multitude OF
notes. 1t was strange and weird in its con-
ception and was translated TO the audi
ence in such way that 1t was like pic
March" was an example of what impression
a player can make with keyboard and nm
gers. The march was heard far in the dis
tance, ii came nearer and nearer, until
close at hand il swelled into what one might
call a full orchestra, and then IL receded into
the distance and the last note was far in
the distance. This effect was fine display
of power, perfect control and lightness. Not
a tone was lost from the introduction to
the last.
Chopin's music is rarely played as Mrs.
Zesler plays it, The 'Valse, OPP. 70 was a
revelation of beauty. She did not rush 1t as
so many players do, but gave 1t that grace
makes the waltz so seductive. 1t was rich
in tonal color and the lightness of the single
the phrases, was fascinating to degree.
The "Scherzo was another gem, COM
menced with the vigor and dash with which
second movement there was such comb
nation of tonal qualities that 1t was more
like the wealth of sound from several play
wonderful effect is one OF the strongest
points in Madame Zeslers playing. From
movement. A Theme, with Variations and
Fugate," by Edward Schuett, and dedi-
SEATED ss5fsd to Mars %Slerd bv was ~ three
numbers by Moszkowski, also dedicated to
Madame Zeiser. Not only are they fine in
composition, but they have a rare virtue in
the fact that their names are so admirably
chosen. 1.-The Dance Fantastique' was, in
deed, fantastic, and the "Melo6ie'' sung it
self in its tenderness and sweetness, while
the "Capriccietto" was truly capricious.
now here, now there, odd and wayward-
The Schubert "Erl King" was a poem,
It's never-ceasing rushing of the wind and
the storm, the voice of the father, the voice
of the child, the roar and the crash the
winning gentleness of the E,rl King were
depicted in the most dramatic fashion. Had
Madame Zeiser been an actress, she would
be great. Bernhardt; had she been a
painter she would have been a Vereschat-
gin; being a pianist, she equally great in
her chosen profession. Whatever she does,
she invests with a beauty, a strength and a
life that none but a true artist could give.
When critics say that Paderewski is no
greater, they speak truly.