Pianoforte Recital: 1st

“A most interesting and pleasurable musical entertainment was given yesterday afternoon at the small hall of Steinway’s by the German pianist, Johann Heinrich Bonawitz. With the exception of Mr. Arthur Mathison, who made his first essay in public as a baritone, a much better field for his voice than the perilous regions of tenordom, Mr. Bonawitz was the sole caterer for the amusement of the audience. That he subjected his powers to a most severe test may be readily seen from the character of the works he selected for the occasion. First came his own transcription of the ‘Freyschütz’ overture, a rather ticklish subject to interpret outside of an orchestra, but the pianist incontestably demonstrated that in a concert grand there are hidden imitations of orchestral effects which can only be brought forth by a thorough master of the instrument. The second piece in the bill was an air and variations from the suite in D minor of Handel, the melody being rather uninteresting, but the variations magnificent. Then came the gem (popularly speaking) of the entire recital. This was the superb transcription of Schubert’s ‘Erl King,’ by Liszt, and a grander illustration of the well known German legend could scarcely be looked for in a concert. Mr. Bonawitz played it with a spirit and expression that brought into bold relief all its characteristic beauties. Beethoven’s well known sonata, opus 53, in C major; Mozart’s fantasia in D minor, Schumann’s Novelette, No. 8 (a very remarkable work, composed as a souvenir of student life at Heidelberg, and one of Schumann’s best piano works), and a bold, vigorous arrangement of the ‘Racokzy March’ by Bonawitz next followed. The three last works in the programme were by Bonawitz, consisting of his beautiful ‘Nocturne Elégiaque,’ his pretty, fascinating ‘Scherzo Impromptu,’ and a grand transcription of Martin Luther’s hymn, “Ein Feste Burg Ist Unser Gott.’ The first two compositions have been already criticised in the Herald, and the last displayed Mr. Bonawitz’s powers to a degree which called forth the utmost enthusiasm. The plain, severe measures of the hymn were clad in appropriate raiment, and nothing short of a Thomas’ orchestra could have invested it with more power and dignity. Throughout this severe programme Mr. Bonawitz displayed a wonderful versatility of style, as the opposite nature of some of the works demanded a clearness of conception and facility of illustration of each composer’s ideas, and a power of accommodating himself to the general public in his playing, which must place him in the very foremost ranks of our already numerous army of pianists. Mr. Mathison, in a selection from ‘Lurline,’ made a very favorable impression.”

“Yesterday afternoon a moderate audience, ladies largely predominating, assembled in the lesser Steinway Hall to hear the first of the piano recitals of Herr Johann Bonawitz. The programme was interesting and varied, including favorite numbers of Handel, Beethoven, Weber and Mozart, arranged in the usual contrasting groups. To these Herr Bonawitz gave powerful and skillful interpretation, but his style, though superior to technical difficulties, was somewhat lacking in the grace and expression of sundry of those leading pianists who have been before the public. In the forte passages none could complain of want of vigor, but in the ‘piano’ and ‘pianissimo’ one looked in vain for that tenderness and refinement which wins its way to the heart. Perhaps some of this ineffectiveness is owing to the room in which he played. The first movement of Beethoven’s sonata, op. 33, in C major, was extremely brilliant, and, further, Mozart’s Fantasia, in D minor, was, perhaps, more delicate in expression than the rest. The last was followed by a march, by Racokzy, offering a powerful contrast. The compositions of Herr Bonawitz introduced in the programme were excellent, expecially the ‘Nocturne Elegiaque.’ Mr. Arthur Matthison, who has recently come out as a baritone, and whose voice is really good, rendered essential aid to the pianist by singing in careful and robust style, ‘A Father’s Love,’ by Vincent Wallace.”