Rubinstein Matinee Recital: 3rd

Includes program for all seven recitals.

Includes program.

“Mr. Rubinstein’s concert, yesterday afternoon, was perhaps the most brilliant, thus far, of the series. Of course there was nothing in the programme of quite so high a character as the Sonatas of Beethoven, but the selections were remarkable for splendor and variety, and we have never heard the pianist when his extraordinary versatility was made more conspicuous. The bill was as follows [see above].

The romantic and poetical schools are here superbly illustrated, and Mr. Rubinstein threw himself completely into the spirit of the occasion. It was evident, after the first few measures of the Schubert Fantaisie, that he was in one of his most inspired humors. Nothing more brilliant and bold than his interpretation of this first number could well be imagined. The minuet and the three charmingly contrasted gems which followed were admirable in other and appropriate ways. But it was in the music of Weber that Mr. Rubinstein made the deepest impression. The fine Sonata in A flat is pretty well known to our concert rooms, yet it assumed yesterday a fresh beauty, a richer coloring, a new magnificence. The second movement especially was indescribably grand, and although the rapid tempo and vigorous expression were at times almost overpowering, the rhythm and clearness of every measure were invariably preserved. We despair of conveying to our readers any idea of the sweetness and grace which illustrated the ‘Invitation to the Dance.’ In the ‘Songs without Words’ the pianist entered into yet another mood—refined, thoughtful, and sentimental. There were eleven of these charming little pieces, including Nos. 1 and 15 in E major, two of the three barcaroles, Nos. 6 (G minor), and 12 (F sharp minor); No. 7 in E flat; the beautiful Andante con moto in A flat, No. 19; No. 22 in F; and the familiar No. 4 in A. They were all most exquisitely played, and their quiet beauty was a delightful relief from the brilliancy that preceded them. The Variations serieuses brought the programme to a splendid close.” 

“The third of Mr. Rubinstein’s piano recitals took place at Steinway Hall yesterday. The programme was representative of Schubert, Weber, and Mendelssohn, and, although it might with advantage have been briefer, by one-fourth of its length—for there can be too much of even a good thing—it certainly afforded more pleasure than either of its predecessors. Mr. Rubinstein recited with much clearness and beauty of tone two fantasias by Schubert, whose piano music, if it does not abound in grand ideas is, nevertheless, made thoroughly enjoyable by its sweetness and simplicity. He also played very finely the exquisite A flat sonata of Weber, and eleven of Mendelssohn’s ‘Songs Without Words,’ these being among the selections for an appreciative and expressive delivery of which Mr. Rubinstein can always be depended upon. We do not admire so unreservedly the other performances of the afternoon; Mr. Rubinstein cannot always , as we have had occasion already to remark, restrain his impetuousness, and the delicate writing in Weber’s ‘Invitation to the Waltz,’ as well as the pretty polacca in E major, the characteristic rhythm of which was swept away in the mighty stream of the pianist’s execution, suffered on this account.”

“Before a large audience, chiefly of ladies, Mr. Rubinstein yesterday performed a programme composed of the music of Schubert, Weber and Mendelssohn. In many points the performance was remarkable. The C major fantasia of Schubert was superbly played. The arrowy runs in in Weber’s A flat major sonata were given with inimitable brilliancy. Weber’s Polacca in E major and Mendelssohn’s Scherzo Capriccio also received effective interpretation. The familiar ‘Invitation a la Valse’ of Weber, on the other hand, was a disappointment. It was taken in very rapid time, and the pianist failed to bring out the grace and delicacy of the melody as well as some of his less celebrated predecessors have done.”

“As the chronology of piano music with Rubinstein comes down to more modern times, public interest seems to be more fully awakened. At the third recital yesterday the programme consisted of the choicest works of Schubert, Weber and Mendelssohn. The divine poet of melody, whose works, piano, vocal or instrumental, glow with beautiful thoughts, was represented by his fantasia, C major, menuet, fantasia, G major, and the bouquet of melodies called ‘Moments Musicales.’ The delicate fancy and arabesque structures of melody which characterize the style of Franz Schubert were painted in corresponding colors by the magic fingers of the great pianist. He was not so fortunate in his interpretation of Weber, of whose works he played a sonata in A flat major, ‘Momento Capriccioso,’ ‘Invitation à la Valse,’ and the Polonaise in E major. The untamed fiery spirit that flashes through the most difficult concertos and études, regarding technical intricacies as child’s play, is apt to tear asunder the filmy web of graceful themes spun by the composer of the ‘Freischütz.’ There is one weakness that the great pianist yields to, which, in a Weber piano work, is inexcusable. While the right hand gives the subject and the left is employed in embellishing it, the temptation to give loose rein to the latter seems to Rubinstein irresistible, and the consequence it that the theme is completely swamped. Eleven songs without words, scherzo capriccio, scherzo fantasia and ‘Variations Serieuses’ represented the school of Mendelssohn.”

Includes program.