The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1902-04-05
IT WAS A TREAT.
Music Lovers Delighted With
Zeisler Recital.
Evident That the Audience APP
preciated the Music.
WONDERFUL Pc WEIR.
Played Almost Continuously an
Hour and Three-quarters.
An Artistic Success in Every
thing but Attendance.
Pc WEIR.


which made up the programme. The
audience was of the variety so often
spoken of, small but appreciative. There
have been audiences in Topeka this sea-
son which numbered into the thousands
to hear some musical treat but there
We're hundreds in those thousands who
went merely from curiosity. Nine
zeisler's audience attended her recital
carrying the music of various numbers
and determined to enjoy and learn. but
all the musical folk of the city were not
there by any means.
The audience was as much of a treat
as the player. The usual annoyanceS
furnished by the average audience were
absent. No one stamped his feet nor
pounded his umbrella to show approval
The enjoyment of the selections and the
appreciation of the playing were mani
rest IN the proper way, by palm TO palm
applause. The audience did not ap-
plaude at the wrong time but was ready
the moment the selections were ended.
How that would have pleased Bellstedt
who says that western audiences al
ways applaude the music of the masters
at the wrong time.
And another thing-the audience did
not yociferously encore each number
until the madam was forced to respond
to restore order. Such is the case with
many Topeka audiences and then when
by such means the programme has been
restless and begin to leave before the
regular programme is finished. Mme
Zefsler's hearers showed appreciation
That was sufficient The programme
was of Is numbers. One encore was
played.
Nine. Zeisler's recital began at $50
O'clock and ended at 1915 o'clock. She
played almost continuously for an hour
and three quarters That in itself was
wonderful. Anyone who knows nothing
of the piano nor Of music could not failto
marvel at the endurance of the player
It took physical training and it required
as much strength for Nine Zeisler to.
play the fifteen numbers as it would an
athlete to survive d contest
Nine. Zeisler's control of her hands
was perfect. List is credited with say
ing, Three things are necessary to
make d great pianist: First technique!
Second techniquel! Third technique!!!'
And technique is really the absolute
control of the machinery which moves
the fingers, the wrists and the arms.
Nine Zeisler's technique is perfect and
she certainly possesses the three quail
fcations as laid down by List.
Nine. Zeisler was interesting. OF
course the thorough piano student or in
struetor would say that a person at
tending her recital should pay no at
tention to her. They might even say
that the lights should be dimmed in or
der that there should be nothing to at
tract the attention except the music.
Quite so from an artistic musical stand
point, but with the theater well lighted
ii was impossible to forget the player.
Her appearance is odd. There is none
OF the StatelneSS nor hauteur of some
musicians and none of the affectation
assumed by so many, in Mime. Zeisler.
She was dressed in a simple white gown
which gave her arms plenty of free
dom. She walked upon the stage. stop
ped just an instant to bow her acknowI-
edgments to the applause, and seated
herself at the piano.
Nine. Zeisler did not sit far back from
the key board She seated herself de-
liberately, tried the pedals, glanced at
the audience, bent low over the instru-
ment and began Beethoven's Sonata,
Op. 81, No 3. Her playing can not be
better described than by the quotation
from James Russell Lowell.
"Over bis keys the musfng organist,
Beginning doubtfully and far away,
First lets his fingers wander as they
list.
And builds a bridge from Dreamland
for his lay;
Then as the touch of his loved instru-
ment
Gives hope and fervor, nearer draws
First guessed by faint auroral Pushes
sent
Along the wavering vista of his
dream
The Beethoven sonata was the longest
number on the programme. 1t would
probably be rightfully called the best
test of the players ability although 9TH
er numbers of more startling nature
displayed as well the resources of the
instrument Nine. ZeisIer played as the
organist of "Sir Launfal." Nearer drew
the theme as she bent closer over the
piano. She used no music and it SEEM
ed as if she We're really playing the
theme that for the tine demanded her
thoughts She certainly produced all
the feeling and passion that has been
credited to the music of the deaf COM
poser.
The March Militaire" by Schubert
would have pleased the most unmusical.
AS it came from under the magic touch !
of Nine. Zeisler it was first quick and !
inspiring and then as thunderous and |
mighty as the playing of a band. The !
uncultivated would have enjoyed It, !
Anyone who could pucker his lips would |
have left the concert Whistling the |
stirring strains of that march Had |
Schubert lived in the present and writ |
ten such marches he would have de- ]
throned SOuSa as march king as
easily as Strauss could have won the |
honors for his waltzes. It is said OF
TauSig. who arranged the duet to the /
march SOLO that a piano survived only /
one number when he played If that
We're a mark of ability it could be said
of Mime. Zeisler that it seems if she
wished to wreck an instrument she
could.
From the thunderous and inspiring
march to the Songs without Words.
by MendelssOhn would be impossible
transition for many. but not for Nine.
ZeisIer- Mendelssohn wrote his songs
without words Because he could find
no words that We're in keeping with his
thoughts and with his music. AS they
were played last night words were un-
necessary. The piano seemed to be al
most possessed of a human voice. The
notes were so clear. the rhythm was 50
perfect and the melody so rich that
nothing was lacking. The boldness and
brilllaney of Chopin were as well