Reubke’s performance of his piano sonata at the Altenburg was recalled by Richard Pohl:
‘Playing us his sonata, seated in his characteristically bowed form at the piano, sunk in
his creation, Reubke forgot everything about him; and we then looked at his pale
appearance, at the unnatural shine of his gleaming eyes, heard his heavy breath, and were
aware of how wordless fatigue overwhelmed him after such hours of excitement – we
suspected then that he would not be with us for long.’
On hearing of Reubke’s early death from tuberculosis, Liszt wrote a letter of condolence
to Julius’s father, Adolph Reubke, the well-known organ builder:
Weimar, June 10, 1858
Dear Sir
Allow me to add these few lines of deepest sympathy to the poem by Cornelius which
lends such fitting words to our feelings of sorrow. Truly no one could feel more deeply
the loss which Art has suffered in your Julius, than the one who has followed with
admiring sympathy his noble, constant, and successful strivings in these latter years, and
who will ever remain true to the memory of his friendship – the one who signs himself
with great esteem
Yours most truly
F. Liszt
American pianist and Liszt pupil, William Dayas (1863-1903), performed Reubke’s
Sonata at a Weimar masterclass in 1885 in the presence of Liszt who was visibly moved.
Reubke’s organ and piano sonatas have both been recorded on CD.
RISLER
Edouard Risler (1873-1929) played the Liszt Sonata at the Liszt Centenary at Heidelberg
in 1912.
Saint-Saëns wrote: ‘If a prize must be awarded, I should give it to Risler for his masterly
interpretation of the great Sonata in B minor. He made the most of it in every way, in all
its power and in all its delicacy. When it is given in this way, it is one of the finest
sonatas imaginable. But such a performance is rare, for it is beyond the average artist.
The strength of an athlete, the lightness of a bird, capriciousness, charm, and a perfect
understanding of style in general and of the style of this composer in particular are the
qualifications needed to perform this work. It is far too difficult for most virtuosi,
however talented they may be.’
Some sources suggest that Risler was a Liszt pupil, but he was only thirteen years of age
when Liszt died and is not mentioned by Göllerich. Risler studied with Liszt pupils
Stavenhagen and d’Albert but he never recorded the Liszt Sonata.
ROSEN