Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
IO
What Eminent German Critics Say oif Franz Rummel,
on his forthcom=
ing
American Tour,
opening at
Chickering Hall,
Feb. 1.
who will play the
Celebrated
GHIGKERING
PIANO
FRANZ RUMMEL.
Program and Notices of Concert given in Dessau, December 2d, 1897, in recognition of the 25th Anniversary of the Artistic
Debut of the World famous Piano Virtuoso, Franz Rummel.
AIR ET VARIATIONS.
Blacksmith)
SON ATE, Op. 101
(The Harmonious
Geo. Fr. Handel
Ludiv. v. Beethoven
I. a) Etwas lebhaft und mit derinnigsten
Empfindung.
a) Allegretto ma non troppo.
II.
b) Lebhaft.
Marschmassig.
b) Vivace alia Marcia.
III.
VARIATIONEN iiber ein Thema von Schumann,
Johannes Brahms
SONATE, Op. 58
Frederic Chopin
PRES DU RUISSEAU. I Miniatures, Op. 93,
SERENADE,
I. Allegro maestoso.
II.
CHAK.AKTERSTUCK, Op. 7, No. 7, )
LIED OHNE WORTE, Op. 53. No. 4. \
F. Mendelssohn-Bartholdy
A. Rubinstein
SCHERZO. Molto vivace. .
III.
Largo.
IV.
FINALE.
c) Langsam und sehnsuchtsvoll. Gesch-
wind, doch nicht zu sehr und mit
Entschlossenheit.
VALSE, "Man lebt nur einmal," Op. 167,
Strauss- Tausig
Presto non tanto.
NOCTURNE, Op. 17
Louis Brassin
RHAPSODIE HONGROISE Nr. 2.Franz
Liszt
c) Adagio, ma non troppo, con affetto.
Allegro.
RUMMEL CONCERT.
CONCERT BY PROF. FRANZ RUMMEL.
The "piano evening " given by Professor Franz Rummel yester-
day evening in the hall of the Fridericianum formed a worthy close to
an artistic career of twenty-five years rich in honor and success, and at
the same time a worthy opening of a second quarter-century. He who
undertakes to interpret such a program as that of yesterday, has the
true artistic ambition, and he who is able to perform it in a perfect
manner must be recognized unreservedly as a genuine artist.
We found on the program the names of Handel, Beethoven,
Schumann, Brahms, Chopin, Mendelssohn, Rubinstein, Brassin and
Liszt, all masters of the instrument over which our home-artist has
such an extraordinary command.
Beginning with the simple majesty of Handel's great composi-
tions, the interest of the audience manifested itself, and from number
to number the applause increased, reaching the climax after the mag-
nificent, masterly-played Sonata of Chopin. This is a composition
which deserves to be played oftener, and we hesitate which part to
give the preference to. The first part (Allegro maestoso) introduces,
in the Funeral March, a tuneful theme. The Largo is wonderful; and
the Tutti in the Finale is fiery and powerful. The technical difficulty
of the last Beethoven Sonata is well known; to overcome it was but
play for Prof. Rummel; and in the slower portions he imparted a
special tone-feeling. A very interesting composition is Brahms' Vari-
ations on a Theme by Schumann. This symbolizes great pain, and
Brahms has developed this thought of the great Romanticist without
ever allowing another idea to appear. We consider this composition—
one of Brahms, youthful pieces—as his most valuable creation. Prof.
Rummel here achieved the climax of his art. Later he showed, in
the compositions of Mendelssohn ard Rubinstein, in the Strauss-
Tausig waltzes, and in the Nocturne of his teacher Brassin, that he is
equal to the highest demands in every branch of piano literature.
The closing piece of the evening was Liszt's Hungarian Rhapsody,
which we never before heard played with such perfect technique and
with such warmth of perception. Many of the nobility were present
at the concert and expressed their highest appreciation of Prof.
Rummel's performance. The latter was also honored with many ele-
gant wreaths and bouquets. We hope that the next twenty-five years
may bring further deserved honors and success, and that he may cele-
brate his golden jubilee with the same vigor as he has just celebrated
his silver one.—Anhaltische Landeszeitung, Dec. j ,
The hall of the Fridericianum was not quite so well filled last
night as at last year's Rummel Concert; nevertheless a numerous
gathering of the admirers of the great artist came to listen once more
to his playing before he, following the" procession towards the West, '
starts on his American tour. And Herr Rummel, by yesterday's
performance, makes his farewell still harder for us. Little new can
be said about his ripe and intelligent artistic ability. He unites the
most perfect technique with a depth of perception which stamps him
as a thorough artist. His finely educated musical taste enables him
to interpret the thoughts of the composer in a congenial manner and
to reproduce them adequately; and having reached this eminence in
interpretation he may well feel called upon to clothe with new life the
greatest and deepest musical creations. It is given to him to present
the spirit of the composer so directly to our souls that we entirely
forget the intermediation of the pianist. In thissense Herr Rummel's
may be called a special art, since it never shines expressly for itself,
but only to make contact between the soul of the composer and that
of the hearer. This is the highest praise one can give to a pianist;
and Franz Rummel showed himself well worthy of it, especially
in the first and second parts of the program, which opened grandly
with Handel's "Air et Variations,'* and continued in the same classi-
cal style with the Beethoven Sonata, Op. ior, until the first intermis-
sion. This opus—the first of the last five Piano-Sonatas—is no child's
play; nevertheless transparently clear rendition of its fine figurative
working out makes it thoroughly enjoyable. Always interesting is the
Variations on a Schumann Theme, by Brahms, the peculiar harmonics
of which charms one; the thematic development in the second half
is somewhat broad. Herr Rummel plays Chopin delightfully, whose
Sonata, Op. 58, was on the program. The ability to interpret correct-
ly the characteristics of the various composers is one of Herr Rummel's
particularly strong points: and the third part gave a striking oppor-
tunity for showing this. Two pieces by Mendelssohn were followed
by two by Rubinstein, a Waltz by Strauss-Tausig, then a Nocturne by
Brassin (who was at one time a teacher of our artist), and the closing
piece was Liszt's Rhapsodie, played with unequaled bravoura. After
every piece—after every line, indeed—the audience broke into applause
and a large number of wreaths were passed to the artist. At the end
of the performance Herr Rummel conversed with the highest nobility
present.—Anhaltischer Staats Anzeiger, Dessau, Dec. 3, '97.