The courier., 1901-11-02
A MATINEE MUSICAL

on Tuesday evening, under the aus
pices of the Matinee Musicale, Mrs
Fannie Bloomfield Zeisler gave a pi-
ano recital. The large auditorium OF
the Presbyterian church was filled by
an audience of technical musicians and
the musically appreciative. Except for
the artistic conscientiousness of her
playing, during the recital of the first
numbers, she seemed not to care in
the least for the large, still audience,
the parts OF which did not cough or
make noisy movements, so anxious
were they to hear the ethereal inter-
pretations. At the conclusion of the
third number, Mendelssohn's Wedding
March and the Dance of the Elves,
the appreciation was so spontaneous
that Mrs. Zeisler's reserve melted and
for the rest OF the evening the entente
between the artist and her listeners
was cordial
III Mrs. Zeisler were a man with yell
low hair about five inches thick, and,
even more than this, If she possessed
the Delphic expression, Padcrewski's S
reputation would be no greater than
hers. for she has everything upon
which his reputation is based except
the hair and the mysterious, aloof ex-
preston. In order to play the piano
a performer must press down the keys
so that the felt hammer which is con-
nected to them by a long arm may
strike twisted steel strings stretched
across the harp-shaped sounding board
of the piano. Both virtuoso and be-
ginners strike the keys with their fin
gers. but the strings respond to the
formers touch with singing round
tone OF heavenly sweetness, and the
same strings have neither resonance
nor meaning when the beginner strikes
them
Ariel, Mendelssohn's Interpretation Of
the airy. insouciant, elvish dance he
arranged for the bridal prince and
princess are closely adapted to Mrs
Zeisler's genius. It is as easy to de-
scribe Ariel's concert as it is to char
acterize Mrs. Zeisler's tone Shakes
peare described Ariers performance,
but there is no one to record the this
tle-down lightness, melody and gayety
of Mrs. Zeisler's Interpretation.
Mrs. Zeisler has the concentration
and reverence of all great artists.
While she is playing the audience is
outside Of her cognizance. She would
play as well to one as to one hundred,
and to one hundred as to two thousand
Notwithstanding her dignity, a great
musicians dignity, she lacks the mys-
tic gaze of Paderewski which is per-
haps a pose assumed for the influence
IL certainly has upon the box Office re-
ceipts. To Mrs. Zeisler's playing there
Is nothing mcretricious OF stacy. Her
wrists are very strong and flexible. and
her long artists fingers are ten musi-
cal minds.
The program was admirably and ORR
ginally composed. In the main, ii is
apparent from an examination Of the
appended program that Mrs. Zeisler
played two numbers from each COM
poser. one serious, dealing with the
eternities, the other gay. airy, exquis-
itely melodious, and still human. Thus
although it was an evening of piano
playing with no vocal music to relieve
il. the gamut Of emotions was repre-
sented.
1t was the fourteenth artist recital
given by the Matinee Musicale, one of
the most important and effective ener-
gies in the state for distributing sweet
ness and light. The program:
Caprice on airs from the ballet of the
Opera ''Alcests," GIuck.
Variations serieuses, Op. "a, Mendel-
ssohn.
'sWedding March and Dance of the
Elves, Mendessohn.
Theme varie ct fugato, Dedicated to
Mrs. Zeisler), Schuett.
la bien-aimee. (valse), No. 2, from
Papillons d'Armour, Op. 50. Schuett
Nocturne, Op 81, No. 2, Chopin.
Polonaise, Op. 50. Chopin.
On the Mountains, No. 1. and Norwegian
Bridal Procession. No. 2. from Folk
Scenes, Op. 10. Grfeg.
Etude c major, ION false notes), Rubin
stein.
Nocturne, 0iebestraum, No. 81. Liszt.
sssOne Lives but once (valse), Strauss.
'Originally composed for orchestra and
Transcribed for piano by st. Saens.
ssFrom the music to Shakespeare q
Summer Nights Dream; originally COM
posed for orchestra and Transcribed for
piano by Liszt.
sssOriginally composed for orchestra