Rubinstein Matinee Recital: 5th

Includes program for all seven recitals.

“The fifth of the Rubinstein Recitals took place yesterday. The programme was devoted to Chopin, and embraced a rich variety of the most characteristic works of this composer, beginning with the Fantaisie in F minor, and including several of the Preludes, mazurkas, waltzes, etc., etc. The union of gracefulness and brilliancy with which the pianist illustrated these pieces can hardly be too highly appreciated. If it was truly was truly said on Saturday that we never really knew Schumann in this country till Rubinstein came as his interpreter, it might be said with equal justice that the Russian genius who compasses so many styles and penetrates to the inner meaning of such widely diverse creations of musical art, has given us a specimen of Chopin infinitely more satisfying and more beautiful than anybody has given us before.”

“As the programmes of the Rubinstein recitals in their regular course are introducing the composers of modern times, they are attracting more fully the patronage of music lovers. At the Chopin recital of yesterday there was a very large audience present, chiefly composed of ladies. The graceful and ethereal music of the Polish composer was treated with the greatest tenderness by the Russian pianist. Whether Rubinstein is the most satisfactory interpreter of Chopin yet heard here is an open question; but certainly none of his predecessors ever before ventured to give a concert consisting entirely of selections from this one composer; and none has been more successful in winning the immediate plaudits of his listeners. The audience yesterday seemed to be thoroughly delighted with Chopin as played by Rubinstein, and regrets were expressed that the recital could not be repeated.”

“A crowded hall, nine-tenths ladies, attentive listeners for three hours and an inspired pianist interpreting the noblest works ever written for the noblest of instruments. Such was the attraction at Steinway Hall yesterday. Forty works of Chopin, comprising the F minor fantasia, five preludes, two mazurkas, five waltzes, three polonaises, eight nocturnes, the A flat major impromptu, berceuse, tarantella, scherzo, three ballads, nine etudes and the ever welcome marche funèbre, from the B minor sonata, formed the bill of fare. It was indeed a royal feast, of which the most accomplished musical cuisinier might well feel proud. As with Schumann, the imaginative mind of Rubinstein is in full accord with the poet of the piano. It may appear a strange comment on history that a Russian pianist should be such a faithful interpreter of the sublime yearnings of a Polish composer, but a time-serving Moore has been the most eloquent exponent of the wrongs of Ireland. Chopin did not aim at the grandiose spirit of the epic poet; he portrayed his country in familiar colors; Upon each melodic figure, Niobe-like in melancholy beauty, are showered adornments like light drops of pearly dew, and without suspecting it he formed a new school of piano music, to which the exquisite poesy of his nature gave birth, and which will prove imperishable. The names are but poor exponents of even one idea in his works. Beneath the unpretending title, étude, impromptu, prelude or caprice, lie treasures of rich thoughts, which too often prove dross in unskilled hands. How the strains of the ‘Marche Funèbre,’ to use the words of Liszt, ‘breathe upon the ear like the rhythmed sighs of angels, the cry of a nation’s anguish mounting to the very throne of God.’ Then the self-sufficiency and haughty importance of the polonaise, in the illustration of which the bright examples of Weber were overshadowed by the traversing grandeur of Chopin. Who can listen unmoved to the martial spirit and massive measures of the A major polonaise? Passion, coquetry, anxiety, vanity, inclination and a thousand emotions of the mind are portrayed in the mazurka in delicate, tender, evanescent shades. The belle of the Polish ball-room in this dance appears, half Odalisque, half Walkure and the sensuous beauty of the ‘Arabian Nights’ is wedded to the inspired devotion of a Joan of Arc. The studies, at times, recall the ‘Manfred’ of Byron in their gloomy measures; again the young Nourmahal of the Vale of Cashmere.

Rubinstein’s playing in these works was indescribably beautiful. The slightly veiled, yet silvery sonorousness and obedient action of the grand piano selected for the occasion gave him free scope for his revellings in the demesne of Polish poesy. Beneath his fingers trickled the melodic tears of the nocturne, sprang forth trumpet like tunes of the polonaise, thundered the stormy measure of the A minor etude, whispered the angelic thoughts of the berceuse, danced the sparkling tarantella and wept the mournful theme from the first sonata. He caressed the beautiful and tender idea as he grasped the bold and inspiring thought, and the spirit of the dead composer seemed to hover over the audience. No such illustration of Chopin has been vouchsafed to a New York audience before.” 

Includes program.