The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1903-02-04
THE ZEISLER RECITAL

An artist to the tips of her long, slender
fingers, with their marvellous facility of 1
execution is Fannie Bloomfield Zeiser,
who appeared at the First Baptist church |
last evening under the auspices OF the |
Teachers club.
The caption on the program was Song
Recital,'' and whether Intentional or not. !
it was certainly not a misnomer, for many
if the numbers were songs indeed. and
if there is one quality in Mrs. Zeislers
playing that stands out bright and clear
above any other, it is her power of in
| depreciation Of the melodies around which
the technical arabesques of composers
! are often written. ....H
| Mrs. Zeislers playing last evening was
the acme Of perfection; perfection in
Technique; wonderful perfection in the use
| of the pedal, and a delicately appracia-
! tive Interpretation Of the music she
| played. Her touch is as sure as fate,
| and yet as delicate and Velvety as a but
| terf1y's wing, and withal it is intensely
feminine. One sits and listens marvel
| ing at the perfection of the grace and ele-
| gance of her playing. enjoying it all with
exquisite pleasure, but it must be con-
! fessed. there is lack of that all-com-
| pelling Virlitv and force which makes
people forget where they are and what
they are doing in the abandon Of en-
thusiasm. 1t is Mrs: Zeisler's one lmita-
| ton.
The program was a wonderful one.
| opening with Saint Saens' charming
! transcription of Gluck's "Alceste,'' which
was played with remarkable grace, finish
and elegance. Schumann s "Etudes Sym
phoniques, Opus 49, was the piece de
| resistance of the entire program al
though played as the second number, and
Mrs. Zeisler gave it magnificent rend-
ering. Her intelligent pedaling heightened
the result marvelously. Her technique and
tone quality were superb. This was par
ticularly true in the second movement
| where each note of melody was as pei
lucid drop of crystal
-Four Chopin numbers followed. begin
ming with the familiar Funeral March
which was the least enjoyable of any
thing on the program. In marked con-
trast to this was the ':Etude Opus TO- No
T. The familiar valse "Opus 81, No. %
, was given a delightful rendering, but the
Spinning Song. and Polonaise. Opus 22,''
called out the first real enthusiasm of the
audience. 1t was wonderfully welh done
with perfectly fawless execution and Mrs
, Zesler was recalled three times to ac-
knowledge the applause.
Following the Chopin numbers were a
number Of little sketches commencing with
Grieg's Passing Wedding Procession (No.
from Fokscenes, Opus 49, and closing
: with one Of 1.-TWO Arabesques. Opus 49,
Z. composed by Leschetizky and dedicated to
Mrs. zeisler These numbers were
all charming and played with
Mrs. Zeisler's perfection Of art. The pro-
!, gram closed with the somewhat hackneyed
Llszt "Polonaise in r Major While not
, in itself composition to call for great
:, enthusiasm from the general audience
4 it's technical difficulties and the ease with
which the artist comprised them and
: turned them into means of triumph for
: herself, was but an additional cause for
wonder at and appreciation Of her SPLEEN
. did art. The runs were like the ripping
Of waters, and the chords like the crash
of arms. Her technique as always was
simply fawless.
Howard Boardman.