The Savannah morning news. (Savannah, Ga.) 1900-current, 1903-12-15
NINE. ZEISLER GAVE
BRILLIANT CONCERT,
Music Clubs Series of Artists Com
certs Starts AuspiciOusIy.

Music Clubs Series of Artists Com
certs Starts AuspiciOusIy.
The Savannah Music Club opened its
series of artists concerts for this sea-
son most auspiciously last night with
the appearance of Nine. Fannie Bloom
field Zeisler. a pianiste. who ranks
among the greatest masters of the pl-
ano. and who probably never played
more brilliant programme to q more
sympathetic audience than greeted her
in the Lawton Memorial last night.
So spontaneous and enthusiastic was
the applause after each number that
Nine Zeisler, near the end OF the pro-
gramme, made an exception 10 the GUS
tomary rule of artists not TO give re-
call pieces, and played for the second
time one of the numbers, Joseffy's AT
the Spring" After the first number
the pianiste was presented with mag
nificent bouquet of American beauty
roses.
Though this concert was the first of
Nine. Zeisler's in Savannah, the fame
of the artist had preceded her; much
was expected of her and the eXpecta-
tons were realized. OF her art 1t can
only be said that she is the master OF
the piano in every sense, has virile
strength that enables her successfully
to play even the most taxing of COM
positions, a technique that seems TO
overcome difficulties as though they
did not exist, and a touch and concep-
ton of phrasing that are so near per-
feet as to be above criticism.
The programme was an exceptionally
we'll selected one. and gave the plan
iste the opportunity of showing to their
fullest extent the many brilliant quail
tiles that have won for her her present
high standing in the musical world.
No effort was made to introduce new
compositions-there was but one novel;
ty-"Bourree Fantasque" -among the
eleven numbers, but the compositions
played. even the most familiar of them
received a new beauty through her in
depreciation.
The Bach-Tausig number, "Toccata
and Fugue for Organ d minor" the
most important on the programme
from a musicians standpoint, was
played in mastery fashion. In mark
ed contrast was the simple beauty of
the Schubert Impromptu, which was
played with touch that was almost a
caress, and the brilliant effervescence
of the "Soirees de Vienne," played
with the sparkle and crispness that
must have inspired it's author to Gre
ate it, A revelation, too, to the aver
age concert-goer was Nine. Zeisler's
playing of the Schubert-Tausig
"Marche Militaire," with it's thunder
Gus crash of chords, spirited melody
and stately rythm. The programme in
full was:
"Toccata and Fuge for Organ" d
minor (Bach; transcribed for piano
by Tausi@.
"Impromptu," op 142, No. (Theme
and Variations), (SchuberD
'Valse-CaDrice" C"Soirees de vi
enne'O No. 6, (SchuberD; transcribed
by List.
"Marche Milltaire," op. 81, No.
(Schubert); transcribed by Tausig.
Sonata, op. So Chopin; Allegro
-Scherzo-Largo-F
Song without Words" op. 81, No. 6
(Mendelssohn).
Song Without Words" op. CT, No. 4
(Mendelssohn).
'Liebeswalzer" (No. 5 from Spring,
op. SD. (MoszkowskD
at the Spring" (Joseffy).
Isl oiseau jetais" (Etude, op 2, No.
g., (Henselt).
"Bourree Fantasque" (Chabrier).