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Carnaval not a point was missed, and the
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Paganini intermezzo, occurring in the middle of the slow waltz, gave a foretaste of the quite extraordinary technical powers which were more fully displayed later on. The
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Davidsbündler finale was played with less noise and more subtlety than is usually bestowed upon this curious march, with the Grossvaterstanz creeping in unobserved, much as the
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Marseillaise creeps into the
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Faschingschwank in Wien by the same composer. In certain numbers the pianist showed a tendency to prefer pieces of a secondary and almost trivial character such as the
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Rondo à Capriccio to which Beethoven has given the whimsical sub-title
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Rage over the lost penny stormed out in a Caprice. Not that this work is altogether frivolous. As in almost all Beethoven's music, the working-out sections contain much that is beautiful and interesting; but the opening theme is quite as bald as the _motif_ of Haydn's
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Surprise symphony. In the first part of the programme--that is, down to the end of the Beethoven selections--there were comparatively few indications of the pianist's true calibre. But in Liszt's transcription of the
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Forelle Mr. Reisenauer began to reveal some of those marvels of which he and perhaps one other living pianist have the monopoly. That interminable trill, with the song _motif_ freely and expressively played by the same hand first below the trill and then above it, was a thing to be remembered. There was not the least trace of those licences which even first-rate players commonly allow themselves in order to facilitate such manoeuvres. To the ear the effect was absolutely that of three independent hands. The
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Erlkönig transcription, on the other hand, was much less impressive. It was performed with an exaggerated _tempo rubato_, and was altogether too noisy. Of the Chopin Nocturne in D flat as rendered yesterday afternoon it is difficult to speak in measured terms. Mr. Reisenauer seems to be pretty generally put down by amateurs as wanting in
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But if so, it must surely be admitted that he gets on extraordinarily well without one. Anyhow, soul or no soul, his rendering of the Nocturne was a revelation. In the midst of an almost nebulous pianissimo the parts were still differentiated with perfect mastery, and altogether a science of tone-gradations was displayed that is probably unique. Not a lurking beauty in the composition escapes his research or exceeds his powers of interpretation. For the concluding number Liszt's
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Hungarian Fantasia was chosen, and this piece again fell totally flat on the greater part of the audience, possibly owing to want of familiarity with the Hungarian style. For this Fantasia is based on Hungarian popular songs, and decorated with passages that are a sort of glorified imitation of an Hungarian improvisatore's performance on the
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The song-themes are some of the most beautiful and interesting to be found in all Liszt's Rhapsodies and Fantasias, especially the first, which, in Korbay's edition, is set to the words
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They have laid down him dead upon the black-draped bier, and the wonderful
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Crane