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March 2Cth, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
are many different ways in which habits of improper breathing may be over-
come, the most important of which are judicious breathing exercises,
gymnastic studies, particularly those which bring into play the muscles of
the chest, and a strict observance of the posturing of the upper portion of
the body at all times.
MUSICAL PERFORMANCES.
CHICKEBING HALL.
CONCERT OF THE NEW YORK PHILHARMONIC CLUB.
E New York Philharmonic Club gave their fifth concert this season on
Tuesday, March 8th, at Chickering Hall. The concert opened with a
string quintette in C minor, op. 28, by Franz Eies. The composer comes
from a musical stock; his grandfather, Franz, was a pupil of Beethoven and
a composer of merit, his father, Hubert, was for many years concert-master
of the Royal Opera Orchestra in Berlin, and Louis, his brother, was one of the
Monday Popular Quartette in London. The quintette which was performed on
this occasion shows talent and studies, although a longing to appear original
takes away- a good deal of its effectiveness. There is so much which appears
made expressly for the occasion that the ear of the listener is not always
gratified. The first two movements appear to beat advantage, although we
must say that the rendering of the intermezzo was far below the standard of
the club. The phrases became thoroughly indistinct, and the whole move-
ment gave the impression of a passing whirlwind. This, however, is not the
composer's fault. On the contrary, we think that this intermezzo shows
traits of genius which are not to be found in any of the other movements.
The Andante con variazioni, is cleverly made, and would be more effective if
th» composer had invented a broader theme, fit for the different manipula-
tions. As it is, it becomes tedious, because the short theme continually
grates on your ear. The last movement is vigorous, and would have been
impressive if the leading violin had been made more prominent. Mr.
Arnold's tone on this occasion sounded especially thin and weak.
The quintette was followed by three romances of Tieck's "Magelone,"
composed by Johannes Brahms. This series of songs reflects great credit
on the composer and is very gratifying to the accompanist, but they should
never be rendered in a concert hall where they lose their value. To make
these songs impressive requires a drawing-room, and Miss Marie Schelle, in
selecting the series, showed lack of judgment. Songs of this character,
which are beautiful in a drawing-room, lose their power in a concert hall.
The rhapsodic style of modern songs is not heard to advantage in a large
hall, where the words cannot be perfectly understood. Miss Schelle was
applauded and recalled, we may add, deservedly, for her voice sounded
strong and clear. Later on she sang three songs by Schumann with good
effect.
A novelty of the concert was a larghetto for violin and harp, by Nicolai
von Wilm; the piece is dedicated to Mr. Breitschuck, our excellent harpist,
and to whom are due our thanks for becoming acquainted with this compo-
sition, if we really intend to thank anyone for it. The composition is sweet,
very sweet, as if honey and sugar had entered into a special partnership. It
is effective, but we find so many common places in the larghetto that we
hardly consider it in the right place in a chamber music concert. Our opin-
ion, however, was overruled by the audience, which seemed delighted, and
encored the performers, Messrs. Arnold and Breitschuck, heartily. The
evening's programme was brought to a close by an artistic rendering of
Mozart's Piano Quartette in G minor, Mr. S. B. Mills being the pianist.
The last concert of the season will take place on April 5th, with Mr. Rich-
ard Hoffman as soloist.
STEINWAY HALL.
SYMPHONY SOCIETY—MINOR CONCERTS.
65
The concerto in its details bears strong marks of, and recalls in the
orchestral part, his symphonic poems; like all the ultra-modern concerto, it
is not designed to place the piano solo, with simple instrumental accompani-
ment, but rather to combine it with and as part of the orchestra, or at least
to make the latter fully as important. We repeat, that its choice by Mr.
Rummel evinced sound judgment, since he in so large a degree possesses
the requisites to give works of this class proper rendering. It will suffice to
say, that his performance of it was most noteworthy.
A vigorous, but comparatively unshaded performance of the symphony,
brought the concert to a close.
VHITB.
N behalf of Mile. Erminia Venturoli, the danseuse, who has been for
some years afflicted by paralysis, a concert was given on Tuesday night,
March 8. We are sorry to state that the audience was very small, and the
beneficiaire will not derive much from it. It is a strange fact that Italians
in this city are not able to manage a concert in a manner which fulfils its
purpose. We saw it often before and this last concert was no exception.
The programme was of miscellaneous character and most of the numbers
were nicely performed. Miss Minnie Hands played Liszt's " Rhapsodio
Hongroise " No. 6, and the other artists were Signori Montegriffo, Calloni,
Taponi, Carreno, Orlandini, Liberati and Bagdonoff.
Mr. Carl Feininger gave his fourth and last Chamber Music Soiree on Wed-
nesday night, March 9th, with the following programme and the assistance
of the well-known pianist, Mr. H. O. C. Kortheuer.
L. Van Beethoven, Quartette, op. 18, No. 4, C minor. H. W. Ernst,
Allegro pathetique, in F sharp minor, op. 23, violin. A. Rubinstein, Quint-
ette in G minor, op. 99.
We have to repeat what we said on former occasions. The Quartette is
not well balanced, and consequently the result attained is not very enjoy-
able. Mr. Feininger is a good musician, and we do not doubt in the least, is
earnest in his work, but as a violinist of rank he lacks many essential quali-
ties which are necessary to give him the stamp of a leading violinist of a
Chamber Music Club.
Mr. Franz Rummel had his third Piano Recital on Thursday afternoon,
March 10th. The programme was so full of interesting numbers, that we
prefer to give it our readers in its entirety.
Partita, B flat major, Bach. Sonata, C sharp minor, op. 27, No. 2,
Beethoven. Fantaisie, C major, op. 17, Schumann. Andantino and Varia-
tions, B minor, Schubert-Tausig. Gavotte, G major, Gotthard. Nocturne,
G flat major; Concert Etude, D flat major, Brassin. Concert Etude, G flat
major, op. 24, No. 1, Moskowski. Scherzo from Serenade, op. 35, Jadas-
sohn. " Le Rossignol," Melodie russe; Rhapsodie Hongroise No. 11, Liszt.
The numerous audience followed the recital with close attention, and
applauded the pianist in the most liberal manner.
A good concert was given on Thursday evening, March 10th, for the
benefit of the New York Medioal College and Hospital for Women. The
programme included the following numbers:
Organ overture (Alexander Guilmant), Mr. W. H. Dayas; aria "Ah non
credea," (from "Mignon"), Mr. A. L. King; Flower song from "Faust,"
Mrs. Florence Rice-Knox; piano solos—Gavotte, op. 23 (Saint-Saens), Bar-
carolle (Rubinstein)—Miss Florence Copleston; ballad, "Why Do I Weep
for Thee" (Wallace), Mme. Anna Bishop; recitation, "Old Huldah," Miss
Julia Thomas; song "Across the Far Blue Hills," Mr. Albert King; vocal
waltz, from " Una Folia a Roma," Mile. Christine Rossee; ballad, " Tender
and True," Mrs. Florence Rice-Knox; recitation, " The Bells," Mr. Charles
Roberts, Jr.; song, "Home, Sweet Home," Mme. Anna Bishop; piano solos—•
Nocturne, F minor; Valse, op. 64 (Chopin), Miss Florence Copleston; duo,
"Una Notte in Venezia" (Arditi), Mrs. Rice-Knox and Mr. King.
The ninth Saalfield Concert took place on Saturday night, March 12th,
on which occasion Miss Rubini and Miss Dearborn were introduced to the
New York public, which received them kindly. The concert may be pro-
nounced what is generally termed a popular success, and Mr. Saal-
field hardly aims for higher rewards. He wants to give concerts on the
popular standard, and has not the slightest intention of furthering matters
of art in this city.
I
r p H E fifth concert of the Symphony Society on Saturday evening, March
ACADEMY OF MUSIC.
J_ 5th, was evidently arranged by Dr. Damrosch with a view of keeping
all his hard work for the May Festival.
ITALIAN OPERA.
The programme consisted of Overture, "Magic Flute," Mozart- Aria
FTER a successful tournee through the principal cities of the Northern
from "Mitranes," Rossi, (Miss Emily Winant.) Concerto (for piano) in G
half of the Union Col. Mapleson returned to New York and opened
minor, Saint-Saens, (Franz Rummel); Symphony in C, Schubert.
the spring season at the Academy of Music on Monday, March 7th. Shortly
The overture was well played, but during its performance I had the mis- before the opening day of the season a prospectus was published with the
fortune to sit so close to the orchestra that unless I closed my eyes, I was names of many artists who will not appear, and of many operas which never
compelled to witness the gyrations of the conductor, whose motions in will be given during the short reign of five weeks. Mr. Mapleson advertises
directing looked much more like fencing than conducting; he constantly artists who are quietly breathing the air of England or the European con-
beat the air as well as the tempos. This over-direction may be good for a tinent, he mentions operas, the scenery of which is not even in his posses-
chorus, but must greatly impede rather than assist orchestral performers. sion, and we must say in honor and justice of the Colonel, that his advertise-
However much he has improved in respect to his bt at since his first appear- ments read well, and he has succeeded in making the public believe at
ance here, as orchestral conductor, there is still room for betterment, and we least one-fourth of the promises. It takes a good deal of credulity to believe
hope that he will eventually altogether cease his unnecessary and awkward the fourth part of the manager's vague promises, but we think that Mr.
circuits and tremolandos with his baton.
Mapleson has reached that point of confidence, and is ready to reap the
Miss Winant has, as we have often remarked, a beautiful voice, but un- benefit. If the public is satisfied with the manager, why should we find
fortunately, she by nature lacks warmth, not to speak of dramatic feeling, fault with him? He has the best intentions, but not the singers to give
and has not sufficient art to simulate. The Aria of Rossi, even though its grand opera, consequently he falls back on his resources and feeds us with
form is strongly restricted and a religious spirit has given it some color, is the works of the old repertoire. If an opera like Rossini's " Barber of
not the less sufficiently dramatic to call for more fervor than displayed' by
Seville " had to be postponed on account of lack of rehearsals, how many
J
Miss Winant.
years would it take to produce an opera by Wagner or Meyerbeer? Since
Mr. Rummel—delightful contrast—is decidedly no cold player, no his arrival in New York Mr. Mapleson was not very lucky with his spring
mechanical musician. He can never be censured for betraying, in the season. All the members of the troupe give the impression of being
slightest, absence of musical understanding, or deficiency in manly and tired from traveling and overwork, and not a single artist appears to be in
strong performance, or, as occasion requires, needful grace. It is true that full possession of the vocal powers. Even Mile. Valleria, the most reliable
viewing him simply as a pianist, we may find fault with now and then un- member of the company, seems to be suffering from fatigue, and cannot do
even scale-playing, sometime defective trill, striking false notes here and her duty faithfully. Mme. Gerster's voice shows evident signs of a winter's
there, but looking at his performance as a whole, he must certainly be hard work, and Campanini, during the first two weeks of the season, was
regarded as an artist of the first rank.
entirely thrown hors de combat. Under such circumstances it is only too
Saint-Saens, whose concerto Mr. Rummel, with good judgment, selected natural that the performances of the season so far have not been very enjoy-
for his share of the evening's work, is a composer, who, so far as nativitv is able, and if our good-natured public listened to them with good graces and
concerned, belongs to France, but whose productions are unfettered by local manners, it is only in expectancy of wonderful achievements of the future, which
influence. Music has for her Alma Mate)' the universe, and her followers the manager promised. The season was opened with a performance of Flotow's
"Martha," which proved a disappointment, as not only the individual merits
should not be hampered by artificial land boundaries.
of the singers were scanty, but the ensemble of the representation was out of
Saint-Saens is of those whose genius knows no country; his works are joint.
The audience received the performance coldly, and not even "The
learned, but not pedantic, original but normal. He must certainly be placed Last Rose
of Summer " could rouse them out of their lethargy.
in the category of the great composers of the present century.
A