January 5th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
15
public rehearsal and evening performance drew crowded audiences. The
" Messiah" is considered by church people part of their Christmas edification,
and the great work is listened to with the spirit of reverence and devotion.
The Oratorio Society, under Dr. Damrosch's direction, sang the choruses
with precision and good quality of tone. Among the soloists, Mr. George
Henschel shone with dazzling brilliancy. Artistic style and musical phras-
ing gave a delightful rendering of the bass solos. Miss Anna Drasdil is well
known in this oratorio. Mr. Toedt took the tenor part at a moment's notice
for the indisposed Mr. Simpson, and, considering the circumstances, did
well. Miss Lilian Bailey was the soprano, and although her voice is very
clear and sweet, it cannot do justice to Handel's oratorio music. The organ
lacks volume of tone, and sounds thin. Miss Bailey's voice is best suited to
ballad music; great works are beyond her reach.
On Monday, Dec. 27th, Mr. Saalfield gave one of his ballad concert.
Saalfield's entertainments have become an institution in New York, and are
looked for with eagerness by a crowd of people who like to hear good
artists for a small admission fee. Mr. Saalfield understands how to cater for
the masses, and always makes miscellaneous programmes of interest. On the
last-named occasion Miss Amy Sherwin and Miss Emily Winant were the prin-
cipal singers.
On Thursday, Dec. 30th, Mr. Carl Feininger inaugurated a series of
four Chamber Concerts, before an audience of very limited dimensions. The
large hall, so excellently suited to grand orchestral concerts, is rather a poor
place for chamber music; but Mr. Feininger seemed to have confidence in
his attractive powers and the artistic value of his enterprise, and about 200
people followed the announcement of his first concert, which passed oft' very
well in some regards. It opened with the " Quartette in G major," by Haydn,
op. 76, played by Messrs. Feininger, Rabbellen, Risch, and Miiller. Mr.
Maas, formerly professor at the Leipsic Conservatory of Music, followed
with some piano solos, and showed himself a musician-like player who evi-
dently is a better teacher than public performer. Mrs. Feininger sang three
songs by Schubert in a manner which leaves no doubt that the lady's singing
would be attractive in a drawing room. Mr. Feininger was applauded after
having rendered Bach's " Chaconne," and added an aria by Pergolese. The
concert closed with Rubinstein's " Trio in B flat," which was not a happy
finale, the violin being occasionally out of time and tune. The series of con-
certs may add to Mr. Feininger's laurels, but we cannot yet see their artistic
as encore.
At the third concert Mr. Joseffy's playing, admirable as ever, seemed standard this season, which is so rich in everything good and noble in music.
characterized by more breadth and power than ever before. This was
BELLIGERENT.—It is said that Wagner is engaged on a }Jamphlet on
noticable especially in the " Rondo" of the Beethoven Concerto, and added the
finishing touch to his noble rendering of this great work, and his interpreta- Brahms. This pamphlet can only be written in a belligerent spirit, and we
tions of the " Emperor Concerto" and of the Henselt were magnificent indeed. may expect the break-out of a war between the Wagner school and the
They were enjoyed by the hearers in a proportionate degree, each movement opposition, headed by Joachim and Brahms. We are afraid that the ojvposi-
tion will play a dangerous game and be the loser in any case.
being received with warm demonstrations of appreciation.
Mr. Thomas gave a brilliant performance of the " Symphony," by Her-
SANCTA SIMPLICITAS. —Some time ago we spoke about the abundance of
mann Goetz, op. 9, one of the many novelties he has already brought out this our harp teachers in New York, and added jocosely, that the piano would
winter, and its cheerful genial tone added an additional lustre to the occa- soon be thrown down from the pedestals of its glory, especially if harp and
sion. The Intermezzo is particularly graceful and full of charm, the Adagio, cornet-a-pistons should join in the attack on the present pet of the drawing-
warm and poetic, and the vigorous, popular Finale produced an excellent room. All our French, German and Italian contemporaries treat this sub-
impression upon the audience. The Symphony was very warmly received. ject seriously and give their reasons why we are mistaken. People on the
Mr. Joseffy's solos included a "Nocturne," by Field, in which he produced European Continent must be touchingly unsophisticated or—do not under-
a fine effect, in the delicious quality of tone he evoked from the Steinway stand a great deal of the English language.
Grand and hie new Valses, after which he refused to comply with the audi-
ATLANTA, GA.—The Southern Conservatory of Music at Atlanta, Ga.,
ence's evident desire for an encore. The orchestra also played in a admir- under
the direction of Prof. E. A. Schultze, gave, on Dec. 17th. a concert in
able manner Graedener's " Capriccio " No. 4, which we all remember so fav- celebration
Beethoven's 110th anniversary. The concert made an immense
orably. The warm enthusiasm which seemed shared alike by performers sensation in of the
South, as nobody had been able until now to bring out a
and listeners rendered this concert a remarkable one.
programme entirely composed of Beethoven's works. The Hall was nicely
The fourth entertainment of the series—in no particular inferior to its decorated and the pictures ef the great composer adorned the walls. A
predecessors in point of performance and appreciation—derived additional large
and refined audience was present and received the musical perform-
interest from the introduction of a novelty, a symphonic poem entitled ance with
signs of enthusiasm. Prof. Schultze's Conservatory is in a flour-
"Joan of Arc," the work of Moszkowski, already well-known as the com- ishing condition
; numerous northern students have arrived to continue
poser of several popular and favorite pianoforte compositions. As its title their musical studies
during the winter in the mild climate of Atlanta.
might denote it is romantic in tone and would seem to point towards the
DENGEEMONT.—Among the passengers by the steamer City of Rio de
composer's predilection for Raff and the modern school, though it possesses a
pleasing individuality and evidence of great talent and conscientious work- Janeiro, which arrived from the port of that name on Wednesday, Dec. 29,
manship as well as considerable command of the resources of the orchestra. was the Brazilian violinist, Eugenio Mauricio Dengremont. Although but
It is written in four movements, appears to be very difficult and was superbly 14 years of age, he has made a tour of Europe and Brazil, and his perform-
performed. The first part " Joan's pastoral life and vision " is long and the ances on the violin have been highly praised. He will make a tour of the
orchestration rather noisy—to which the second "Internal conflicts and United States, giving concerts, with a company which he has brought with
Reminisoences " contrasts in many ways—the latter appeared the weakest him. •
movement of the four. The third '' Procession of the Victors to the Coron-
ABBOTT TROUPE.—The Emma Abbott Grand English Opera Company
ation," is broad in tone and highly effective in its gorgeous orchestration. will begin a season of opera at the Brooklyn Park Theatre on Monday, Jan.
This movement produced an instantaneous effect upon the listeners and 10th, and will present during the season "Paul and Virginia," "Romeo and
was loudly applauded. The fourth represents Joan's imprisonment, death Juliet," "Faust," " Trovatore," "Chimes of Normandy," "Fra Diavolo,"
and apotheosis, and contains many reminiscences.
"Martha," and "Bohemian Girl."
Mr. Thomas deserves our gratitude for making us acquainted with a
SCOTT.—It should be stated that Mrs. Scott, who sang at the delightful
work of such interest in so impressive a manner. The selections from " La entertainment given by Professor Ernst Eberhard at the Grand Conservatory
Damnation de Faust," consisting of " Menuet des Follets," "Danse des of Music last week, and spoken of elsewhere, was not in her usual good voice
Sylphes," and " Rakoczy March," were brilliantly played, bringing down owing to the severity of the weather, yet she sang so well that she surprised
the house, but in spite of repeated recalls and continued applause Mr. her best friends.
Thomas refused to grant a repetition.
MOZART MUSICAL UNION. —This amateur orchestra give their Second
Mr. Joseffy's share of this evening's performances consisted of the Public
this season, under the leadership of Professor Fanciulli
Chopin's F minor Concerto, the Liszt E flat, and three solos: Allegro and and with Rehearsal
the
assistance
of several soloists, at the Lexington Avenue O]3era
Passacaille, by Handel; Aria, "Pergolese," arranged by Joseffy, and Rubin- House on Wednesday evening,
Jan. 18th.
stein's "Etude " on false notes, to which he added as encores several of Men-
GEISTINGER.—Mile.
Marie
Geistinger
was serenaded on Monday morning,
delssohn's songs without words. To say that he played them admirably,
would be but to repeat a self-understood fact, but we have always considered shortly after midnight, by a military band of 80 pieces, at the Belvedere
the F minor Chopin Concerto some of Mr. Joseffy's finest work, and he con- House.
firmed this opinion by his magnificent playing in this composition, and
SEOUIN.—Since the opening of the season Mrs. Zelda Seguin seems to
principally in the Lar & hetto, and loud applause greeted him at the close of have had trouble with the management of the Abbott Opera Troupe. From
every movement. The concerto was accompanied with the new and effec- time to time reports were current that she had left the company, reports which
tive instrumentation of Karl Klindworth, a musician of Moscow. The solos afterwards were contradicted. Now, however, it is beyond doubt that she
received artistic and consistent treatment at the hands of Mr. Joseffy, and has seceded, and, of course, different versions are given in regard to the rea-
he was repeatedly and enthusiastically recalled after the Rubinstein study. sons. Morrissey evidently is at the bottom of all the mischief, and as this
With a brilliant performance of the Liszt Concerto elegantly played and gentleman is known as one of the most unscrupulous managers, Mrs.
accompanied as elegantly, this delightful series of concerts came to a close, Seguin's version will be generally accepted. That this lady uses this oppor-
leaving in the minds of all who heard them an extremely agreeable impres- tunity for pushing her own future interests is easily understood. If she
sion and one not to be so soon forgotten.
H. D.
speaks of an offer made to her by a manager who promises to pay her in
1883 the sum of $300 a week and all expenses, we can only give"her the
. STEINWAY HALL.
advice to accept immediately, provided the manager be reliable ; she may
ORATORIO SOCIETY.—SAALFIELD's BALLAD COKCERT.—CARL F E I N I N G E R ' S FIRST not receive such generous offers a second time. Operatic managers who
CHAMBER MUSIC CONCERT.
pay enormous salaries are very scarce, and it takes a good deal of courage
A CCORDING to time-honored custom, the Oratorio Society gave, during to offer Mrs. Seguin $500 a week, and not to fear the consequences of such,
X X the holiday week, two performances of Handel's "Messiah," and both daring.
his dainty brilliancy in the most striking manner, and he must have been
more than gratified at his hearty and spontaneous applause and recalls which
followed each of his performances and compelled him, after his solos, to add
two of Liszt's compositions as an encore.
The orchestra proved completely sympathetic in the accompaniments,
and it has rarely been our privilege to listen to a finer ensemble. Besides its
admirable work in this direction, the orchestra played the Introduction to
3rd act of "Die Meistersinger," in its own finished style. At this first
concert Mr. W. C. Tower sang "Sound an Alarm," from Handel's "Judas
Maccabseus," and three songs by Alex. Fesca.
For the opening number of the second concert Mr. Thomas chose Bizet's
Suite, No. 3, "Roma," and rendered it in his inimitable manner. It
enjoyed a better hearing in Steinway Hall than ever before, and offered an
extremely effective variety in its four movements. From the dignified tone
of the Andante tranquillo to the almost fantastic humor in the final Allegro,
and the characteristic Vivacissimo, it held the audience in a firm grasp
by its freshness and stirring instrumentation. The second movement,
Allegretto Vivace, seemed to imitate Beethoven; and the third, with a lovely
orchestral effect at its close, recalled to one, at times, Mozart's genial spirit.
Bargiel's overture, "Medea," and Handel's "Largo," with Mr. Hermann
Brandt as solo violin, completed the orchestra's work. Mr. Joseffy was
heard to excellent advantage in Chopin's E minor Concerto, a composition
with which he seemed to be in entire sympathy. It would be difficult to
report in favor of any particular portion of this interpretation, where all was
so in keeping with its character. If the first movement was admirably and
expressively reproduced, it became a truly delightful task to listen to the
warm, rich sentiment of the Romance with which the delicate, fairy-like exe-
cution of the ornamental figures contrasted so charmingly, and the grace
and delicacy in the bravura of the Rondo astonished while it delighted.
This movement received an additional surprise, near its close, in the form of
an octave passage by Tausig, which Mr. Joseffy introduced with great
success.
After his Liszt solos, " Valse Caprice d'apres Schubert," " Consolation "
No. 5, " Au bord d'une source," and " Gnomenreingen," rendered with
exquisite finish and received with much enthusiasm by his hearers, Mr. Joseffy
played a Schubert " Moment Musical " and " Auf dem Wasser zu singen "