Rubinstein Matinee Recital: 2nd

Includes program for all seven recitals.

“The second of Mr. Rubinstein’s piano-forte recitals, given yesterday afternoon, was devoted to Beethoven, and drew a very large audience. The programme was as follows [see above].

It would have been hard to make a more splendid selection, and it would have been almost impossible to give a better performance. Rubinstein is in close sympathy with Beethoven at almost all times, and it seemed to us that yesterday he was especially happy in conveying to us the wonderful variety of sentiment and depth of thought which have made these great works immemorial. In these six sonatas we had glimpses of Beethoven’s genius in nearly all its manifestations. The tender grace of the Moonlight Sonata, the strong and sometimes tumultuous feeling of the Sonata Appassionata, the romantic coloring of the D minor and E major, the clearness of the C major, and the incomparable magnificence of the C minor, last and perhaps greatest of the long series, gave us in the course of the two hours’ performance one of the most remarkable pictures of Beethoven’s greatness ever presented at a single entertainment. It would be impossible to decide which Rubinstein played the best. Probably the fourth of the above list, and the exquisite adagio of the fifth, gave the greatest pleasure to the majority of the audience; but the interpretation of C minor must rank as one of the most stupendous and dazzling of all Rubinstein’s successes. We can never hope to hear it so well done by any other pianist.”

“The second of the Rubinstein piano recitals occurred at Steinway Hall, yesterday afternoon. It was numerously attended, and the gentleman’s performances of six of Beethoven’s best-known sonatas were followed with great attention by an audience which included many amateur and professional pianists. While, however, the intelligence of Mr. Rubinstein’s readings, the beauty of his tone, and the variety of his execution are discernable in all his efforts, all of these, it will be imagined, do not give equal prominence to the artist’s gifts and talent. We do not think that yesterday’s concert threw the strongest light attainable on Mr. Rubinstein’s qualities. From the exquisite adagio in the ‘Moonlight’ sonata, delivered with rare eloquence, to the last number of the programme, the slow movements of the selections were interpreted with much elegance of phrasing, and a thorough mastery of legato, while the richness of the sound drawn from the strings under control of the keyboard was unsurpassable. On the other hand, in the quicker tempos, a seemingly uncontrollable fougue and force, and a rather too liberal use of the pedal robbed the harmonies of much of their clearness and sweetness, and consequently, of much of their charm. The selections embraced the sonatas named and numbered as followed [see above]. The rendering of these pieces was supplemented by that of the funeral march (‘Marcia funebre sulla morte d’un eroe,’) which is so grand a part of the sonata numbered opus 26. It is almost superfluous to mention that something more than attention was bestowed upon Mr. Rubinstein’s labors, and that they were heartily applauded.”

“The singular experiment of giving a concert composed entirely of Beethoven’s sonatas was tried yesterday with fair success by Mr. Rubinstein, who entertained an audience, chiefly of lady amateurs, by the performance of the sonatas known as [see above]. The first of these is familiarly called the ‘Moonlight Sonata,’ and has been played here by Miss Krebs, Miss Mehlig, Mills, Wehli—in fact, almost every pianist who has appealed to the favor of our musical public. It is equally well known to amateurs, and, as may be supposed, its interpretation by the great pianist was listened to with critical attention. Many of the audience brought with them the music of the sonatas, and followed every note with unflagging interest. The sonata in C minor, with which the matinée closed, seemed to awaken the liveliest applause.”

“Rubinstein’s rendering of the C-sharp minor sonata reminded me of the description given by Berlioz of a performance of the same piece by Liszt. ‘The notes are quickened and retarded until the quiet sadness is troubled by their passionate utterance, and the thunder rolls through cloudless skies darkened only by the absence of the sun.’ But I doubt if Liszt could more perfectly interpret the wonderful Adagio of this piece than did Rubinstein, and the same may be said of the entire programme.”