Music Trade Review

THE MUSICAL CRITIC AND TRADE REVIEW.
January 20th, 1881.
and Maurice Dengremont is an artist who should be heard by everybody. A
handsome boy, dressed like a child, appears on the platform ; you smile
when you look at that neat, tiny figure ; but the very first tones make you
feel differently, you do not smile any more, you listen intently to earnest and
genuine violin playing. Maurice Dengremont, although only 14 years old,
has the tone of a man ; his conception may lack depth, only too natural at
that age, but it is poetry and sentiment. We do not wonder that he
created snch furore all over Europe. His tone is sweet and tender, his
technique marvelous, and only now and then the intonation shows a slight
deviation from the pitch. We hear that the boy at the end of this season
will return to Paris to resume his studies for several years, and if he does so,
and studies conscientiously, we may see a few years hence in him one of the
greatest violinists the world has ever possessed. As a boy he is now wonderful
and a phenomenon. If in riper years the conceptional powers are so devel-
oped, that he can master works of sterling value, Maurice Dengremont will
be a justly celebrated man and a great virtuoso. But we repeat, that every-
STEINWAY HALL.
body ought to hear the boy now, because he is not only worth listening to,
' r ~pHE Symphony Society of New York, gave their third public rehearsa^ but gives a certain artistic satisfaction, something we cannot derive either
J. this season on the afternoon of January 6th, to be followed by the from Herr Wilhelmj, or from Monsieur Remenyi.
concert on the evening of the 8th. The soloist of the occasion was Herr
August Wilhelmj, who performed the first Concerto by Max Bruch, the same
ABBEY'S PARE THEATEE.
which had recently been played at Koster & Bial's Concert Hall. The
work hardly suits him, at least he plays it in a manner which clearly indi-
" OLIVETTE."
cates, that he is not very fond of it. The last movement especially suffer- A FTER many weeks' preparation, Mr. J. C. Duff, on Monday last, brought
ed from a want of strong aceentuation. He was excellent, as usual, in / \ . out at the Park Theatre Audran's operetta, "Olivette." The version
Bach's " Chaconne " and his own Paraphrase on the " Prize Song " The he presents is from the pen of an American author, while Mr. D'Oyly Carte
orchestral novelty of the concert was a "Spring Fantasy" by Hans Von claims that the work, given by Comley & Barton, at the Bijou Theatre,
Bronsart, a piece of, descriptive music ; music, which may describe a great is
exact version as presented in London. However that may be, we do
deal, but seems with all the apparatus used for the occasion, a conglomera- not the
know and do not care to investigate. After having seen the perform-
tion of heterogeneous ideas, which make the work uneven. Dr. Damrosch ances
of both companies, we cannot understand how an experienced man-
deserves thanks for having it introduced to our public, for it is an interest- ager like
Mr. Duff, can come before the public in New York with a company
ing work, which musicians can appreciate. The remainder of the programme so far inferior
to that of his rival managers. Mr. Carte can save his money,
was composed of Beethoven's " Fourth Sympthony," inB flat, and Wagner's which he spends
for announcement, that his " Olivette " is the real " Oliv-
" Tannhiiuser " Overture.
ette." The American public cares very litte what is going ou abroad. The
On January 7th, Mr. Saalfield gave one of his entertainments, in which merits of the New York performances decide the success, and they have this
Monsieur Edouard Bemenyi, the Hungarian violinist, made his first appear- time decided in favor of the Bijou Theatre. Mr. Duff came out too late with
ance in New York in two years. The many friends of the artist applauded, his version to be successful; the other company had about three weeks' start,
and the musical part of the audience could not help smiling at the comical and the excellence of their performance showed the weakness of Mr. Duff's
evolutions of the violinist. He played Bach's "Chaconne," thoroughly company.
remenyized, and three of his own compositions, among which the " Liberty
think, that if Mr. Duff had been the first to bring out the operetta
Hymn," and a " Choral Hymn," composed while contemplating the grandeur with We
his people, Audran's operetta would not have been a failure from the
of Mount Shasta. Both these works owe their origin to inspirations beginning
in America. We except Mme. Julia Polk, who is an excellent
received in this country, but we should feel exceedingly sorry if our country singer, a handsome
woman, and a clever actress. But her part is compara-
were not capable of influencing more artistic conceptions. The other artists tively too insignificant
hold a performance over water without any help
of Mr. Saaltield's concert were : Miss Emily R. Spader, soprano ; Mr. Alex- from her associates. At to the
Bijou Theatre everything is bright, gay, and
ander Lambert, a young pianist, and the New York Philharmonic Club.
lovely, at the Park everything drags and is tedious. The principal mis-
Mr. Carl Feininger gave his second Chamber Music Soiree, on Wednesday take is, to cast Miss Marie Conron for the title role. The young lady has a
evening, Jan. 12th, with Miss Emily Winant and Rafael Joseffy as soloists. nice voice and is of certain value in the concert room, but she cannot act
The Schumann " Quintette " was the principal piece on the programme, and at all, is totally lacking in stage experience, and is a failure, especially as the
would have been enjoyable if the ensemble had been more even, a majority of the audience have witnessed Miss Catharine Lewis' charming
fault which principally lay with the first violin. The " Quartette," No. 17, impersonation of the same part. Miss Conron is hardly to be blamed for
in C major, was well played, and Miss Winant sang with clear, resonant having taken the part, for she may Lave considered herself capable of
voice. Mr. Feininger's rendering of Bazzini's "Allegro de Concert," op. doing justice to it, and evidently does her best, but the management should
15, was a task beyond the powers of the executant.
have been wise enough to know that a beginner on the stage cannot be
On January 13, a vocal and instrumental concert was given for the bene- expected to satisfactorily fill a role, clever acting in which is the principal
fit of the German Emigrant Home in New York, with the kind assistance of necessity. The tenor, Mr. Charles Lang, in the role of Valentin, was either
Miss Clara Weiss, soprano ; Mrs. Emma Davis-Darner, contralto, Miss hoarse on the first night, or he is voiceless. He is not a great singer, but, if
Helene Seebass, piano ; Mr. Martinus Van Gelcher, violin ; Mr. H. Steins, in possession of his vocal power, may pass. Mr. Marble as the Captain lacks
baritone of the choir of St. Luke's Church ; Mr. A. Holzmann, leader of the humor and bores the audience, so do most of the others in the cast. The
choir of St. Matthew's Church ; Mr. S. Riede, leader, and Geo. W. Colby, chorus is well drilled, but the orchestra sounds at times as if it was out of
accompanist,
joint. We do not know which instrumentation they use, but occasionally
On January 14th, an entertainment of vocal and instrumental music in some instruments are missing, so they may have the original score in diluted
aid of St. Philip's Church, and an address to General Grant, came off before form. The scenery is very nice, and if the mise-en-scene, Mme. Polk and the
a large audience, which seemed to enjoy the musical performances offered by chorus can procure a run for the operetta at the Park, Mr. Duff will be for-
tunate, otherwise, we fear that his enterprise will be a sad failure.
several well-known singers and players.
everywhere with the most flattering financial success. Whatever critics and
musicians may say about the artistic standard of Miss Emma Abbott and the
members of her troupe, the management can stand a good deal of abuse, and
use greenbacks as court-plaster for the wounds, inflicted by the press. But
we do not think that the management cares a bit about the verdict of the
press as long as the receipts are satisfactory. To speak in this issue about
the New York season of the Abbott Company would be premature. Only a
few performances have been given before our going to press, and it is hard
to judge the standard of a company after a representation of the "Bohemian
Girl." Emma Abbott and Signor Brignoli were loudly applauded by an
audience which was composed of non-musicians. Whether New York will
follow the other cities of the Union, and till the treasury box of the manage-
ment, is doubtful. On the whole, we are used to better operatic perform-
ances, and a certain musical shabbiness surrounds the Abbott performances,
which is not much favored here. Qui vivra, verm.
EOSTEE & EIAL'S CONCEET HALL.
MAURICE DEXGBEMONT.
DALY'S THEATRE.
E are afraid that Messrs. Koster & Bial, the proprietors of the concert
" ZANINA,"
hall in 23rd street, are playing a dangerous game. When their hall
was opened it was supposed to be a resoit for the better class, which liked
OR some years Mr. Augustin Daly has considered himself the champion
to listen to good music, at the same time not willing to renounce their drink
of all adaptations from German opperettas and comedies, and we sup-
and smoke. It was a place for the bonne bourgeoisie, and as such filled a gap pose that he does well with these works, otherwise he would not continue
in our social life. Mr. Rudolf Bial furnished light music, well-played, and in the same track. "Big Bonanza," "Lemons," and other comedies by
Ehret's beer was acknowledged excellent by connoisseurs. Business was Moser and Rosen drew good houses, and the " Royal Middy " was a great
flourishing during the first year, and the hall was nightly filled by orderly success. The latest acquisition of this kind is " Zanina," which was brought
people, who enjoyed a few hours comfortable amusement. Suddenly Mr. out on Tuesday night. Under the title "Zanina," Genee's operetta
Rudolf Bial conceived the idea of elevating the taste of his audience, and " Nisida" is hidden, and we cannot understand why Mr. Daly changed the
began with symphonic and classical performances nobody cared for at that title. In order to introduce the Jugglers and Nautch Dances, he trans-
place. The habitues were frightened off, and the harmless listener to light ferred the place of action from Havana to Cambaye, but " Nisida " may have
entertaining music was suddenly scared out of his wits. The next mistake Avas appeared there under her original title. Mr. Daly likes to change things
committed by the proprietors themselves. They engaged artists, with big around, otherwise he could not very well call it an adaptation. Genee's
reputations, arranged reserved seats, did not allow any smoking, augmented music had to experience several cuts in order to make the company of Mr.
the admission fee, and wanted to change the physiognomy of their hall. Daly fit for an operatic work. Unfortunately Mr. Edward Mollenhauer
Vain attempt! The mere ai'rangement of reserved seats and the piece of added some pieces of his own composition which did not compare very fav-
card-board with the words: "No smoking allowed here," are not sufficient orably with the work of the German composer. In Judging Mr. Daly's per-
to turn a lager bier place into a fashionable concert hall. They drew some formance we must entirely forget the " Nisida," as written by Genee; we
crowded houses with artists, it is true, but they ruined the character of their have only to do with "Zanina" according to Daly's adaptation, in which
place, and experience must afterwards have told them that they made a the musical part of the representation takes the second place, as far as the
mistake. May be, that with the beginning of the concerts by Gilmore's voices of the company are concerned. Laura Joyce and. Digby Bell sang
band the former patrons of the place will return to their former place of very well, and their artistic rendering of the two principal characters was
applauded. Mr. James Lewis was funny and the general acting was
refuge ; we hope in the interest of the proprietors, that the experiment they loudly
although the usual dialogue lacked the usual crispness of Mr. Daly's
tried with the Dengrernont concerts will be the last, and that they will fall bright,
The scenery was splendid and the costumes were rich. Strange
back into the channels of their legitimate business. A real beer hall with good adaptations.
say, the weak points of the evening were the Jugglers and the Nautch
music in New York for the better class is something which will be appre- to
dancers. So much has been said about them for several weeks that too much
ciated ; in regard to high-toned concert halls, Steinway and Chickering was
expected, and as it is often the case, dissappointment was the result. Even
Halls will do just at present.
the oldest and. most experienced managers have yet to learn that over-puffing
We are sorry that Maurice Dengremont made his appearance in New is
an evil.
York at Koster & Bial's place. He is not in his sphere, and a certain class
The first performance of " Zanina " lasted till nearly 1 a. m., the two
of our public will not hear him at all, if he does not perform at another place
before his departure for the west. The majority of our concert public do not waits being of unendurable length. This, of course, will be avoided in future
frequent Koster & Bial's Hall, for reasons which may be stupid and entirely representations, and it maybe reasonably expected, that " Zanina" will
without foundation, but nevertheless there is no use denying that they exist, have a long run at Mr. Daly's Theatre.
W
F