• BENDEL, Franz: soloist, pf

Prager Morgenpost 15/4/1863 reported that ‘The pianist Mr Franz Bendel, from Mr Proksch’s school, gives a concert in the Konvikt Hall next Thursday. He is preceeded by a great artistic reputation, which he has gained through his virtuoso performances in Berlin, Hamburg, Stockholm and Copenhagen. In the last-named state the Order of Danebrog was bestowed upon him by the King [of Denmark].’

Národní listy 16/4/1863 published similar news of the imminent concert by Bendel. The date, time and venue of the concert was noted and brief biographical information related about the pianist. The correspondent reported that Bendel was a pupil of Josef Prokš, had just returned from a concert tour of Germany, Denmark and Sweden, and that he had given performance in Berlin, Hamburg, Stockholm and Copenhagen. As with Prager Morgenpost, the report also stated that the pianist had been presented with the Order of Dangebrod by the King of Denmark. The programme to the concert was listed as follows: ‘Grand Sonata for piano and violin by Fr. Bendel (Mr Orchestra-Director Řebíček and the concert-giver). 2. Transcription from „Faust and Markéta“ by Gounod (composed and performed by the concert-giver). 3. Song [Píseň], performed Miss Zawiszanka 4.a) Hommage a Mozart, Andante by Fr. Bendel. b) Rondo by Fil. E. [C.P.E] Bach. c) Gavotte by Šeb. [J.S.] Bach. 5. Fantasie on Czech folksongs by Fr. Bendel. 6. Song [Píseň], performed Miss Zawiszanka. 7. Souvenir de Hongrois by Fr. Bendel. 8. 2 Novelettes by R. Schumann. 9. Rhapsodie hongrois (F-sharp major) by Liszt.’

A review of this event, signed ‘ý.’, was published by Prager Morgenpost 18/4/1863. The correspondent reported: ‘Concert. Thursday the pianist Mr Franz Bendl gave his previously announced concert in the Konvikt Hall in the presence of a really numerously assembled and select audience, which opened with a Grandsonate for piano and violin by the concert-giver. It cannot be said, that Bendl’s Sonata exhibits the character of profligate indulgence; on the contrary it is of sound art and a work, that honours its creator, in that its artistic striving shows and is born of a noble, heartfelt character. But it seems on reflection to be a work that is wasted, in that such a prudent economy of thought prevails through technical skill, that we in consequence are tempted to believe that the composer is near to the zenith of his productive powers and does permits not much hope of further advancement. So great a temperance prevails particularly in the second movement of the Sonata, that in less subtle hands it could easily be seen as poverty. Given Mr Bendl had such a fine success with his Sonata, and that it so felicitously gained the general approbation of the audience, so perhaps this will inspire him to come to his work with new courage and with rejuvenated powers, that will pin immortal fame to his name. Indeed, for this a careful study of the old masters is necessary, and we with the best and most candid intent emphatically commend this to Mr Bendl. For – to indulge in naming names – anyone can just scrabble about [herumwühlt - ‘scrabble about’, but also may be translated as ‘muck-rake’] through the scores of Richard Wagner without thought of Bach, Händel and Mozart (Beethoven constituting the end point), to indulge in names, or to study Schopenhauer’s philosophy without paying attention to the earlier Kant and Spinoza. So much of the compositional talent of Mr Bendl. Of the other compositions of this concert we can now from reasons of only scant space make significant comment; there were two compositions by Bach, a Rondo and a Gavotte (G minor, nr.12, from the English Suite), then two Novelettes by Schumann. The Transcription [Transkription] from Gounod’s „Faust und Margarethe“ arranged by Bendl is very substantial [schwer], but also very trivial, without merit, as the entire opera itself, no other than a complex of trivialities [ein Komplex von Trivialitäten ist]. The breakneck Rhapsodie hongrois by Liszt, the inescapable workhorse of all pianists of modern times, brough the concert to a close. Mr Bendl was, as reported, a pupil of the worthy master Proksch, whose teaching, of so exceedingly fruit-bearing an impact no-one can doubt. However, he has in part seemed to forget this, as – I am, incidentally, not surprised – in that he was later „trained“ by Franz Liszt. The reader will understand my thoughts when I reminisce that the impression made upon me by the aforementioned Transcription was as though of two Cyclops playing four hands. Mr Bendl may consider, that sheer amazement cannot be considered a beauty in itself. Aside from this, his playing is brilliant of of great bravura, and it goes without saying that he received stormy approbation. Assisting the concert-giver was Mr Řebiček, who executed the violin part in the Sonata with commendable surety and accuracy; then Miss Zawiszanka, who sang several Lieder with expression absolutely appropriate to the character of the compositions.’

Interestingly, throughout the Prager Morgenpost 16/4/1863 review, the correspondent rendered the pianist’s surname in its Czech form of ‘Bendl’ rather than the German form ‘Bendel’ that the individual himself used.

An unsigned review of this concert was also published by the German-language newspaper Bohemia 18/4/1863. Titled ‘Concert Bendel’, the review related: ‘Mr Bendel, from north Germany, where he has resided for a long period, was preceeded by an outstanding reputation, put together a concert on Thursday in the Konvikt Hall, attended by a numerous and distinguished public comprising two thirds ladies. The pieces presented to the ear featured the double star of Mr Bendel the composer and virtuoso combined. The greatest applause received the Transcription from Faust und Margaretha, the Gavotte by Seb. Bach, which Mr Bendel had to encored following stormy approbation, and the Fantasie on a Czech folksong [Phantasie über ein böhmisches Nationallied], which particular afforded the concert-giver the opportunity to display and bring to the fore all of his brilliant fluency, immaculateness of execution, playing which united elegance with amazing bravura that allows him to surmount effortlessly exorbitant technical difficulties. The programme of the production was very diverse in its content, Miss Zawiszanka also singing a Polish Lied, and Mr Řebiček playing the violin part of a Sonata composed by Mr Bendel, which the concert-giver accompanied.’