Music Trade Review

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December 20th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
135
much disappointed. The Beethoven Quartette, Rietzel, Jonas, and Franko with excellent musical
MUSIC IN BOSTON.
Opus 18, No. 6, was played with complete indiffer- taste ; yet its delicate points were lost within the
EIGHTH
SYMPHONY CONCERT.
ence to the poetic requirements of this beautiful spacious hall, and in the robust passages the large
work. The slow movement of a quartette of Bee- tone of the grand piano completely overwhelmed
USIC HALL was again crowded recently to
thoven is usually a test of the ability of the per- the tone of the other two instruments. This was,
hear an interesting programme, consisting
formers to interpret the ideas of this genius. A however, the only exception which could be taken of Mendelssohn's overture, "Athalia;" Brahm's
crude performance of a composition of Beethoven to its production. The artists themselves did their Symphony, C minor, No. 1, and Liszt's symphonic
is damaging to those who participate, and we are duty fully.
poem, "Les Preludes." Mr. Carl Bayrhoffer,
therefore obliged to say most unequivocally that Miss Rachel Franko suffers from an affliction violoncellist, performed Saint-Saens' concerto, op.
the Standard Quartette lost much of its caste in which is becoming more general every day, and 33, and Bargiel's " Adagio." Mr. GeorgHenschel,
the performance of the whole quartette, and espe- that is, false vocalization. Simple songs should, at the conductor of these concerts, has assumed the
cially of the "Adagio." Amateurs cannot be criti- present, occupy her time, and a system of vocal liberty of changing the positions of the various
cised for dull and uneven playing, and for the exercises which will eradicate the evil. After that instruments on the stage. To a certain extent, he
sake of brevity we will look upon this perform- s corrected, the study of Schumann and Schu- may find a satisfaction to himself in revolutionizing
ance as an effort of amateurs.
the plan generally adapted by directors, whose
bert may be cultivated.
The plaudits of an audience may satisfy the Mr. Sam Franko played the Concerto Roman- reputations enable them to dictate such matters to
momentary longings of a number of performers, tique, by Godard, a somewhat unique composition the musical world. We fail to understand how th«
but they must surely be awake to the reality, not- which is thoroughly in keeping with its title. The proper effect can be produced by dividing the
withstanding the unquestionable applause of those three movements possess many beautiful nuances, compact body of the 'cello and bass performers and
who are directly interested in the performance. specially the cansonetta, and they were well forcing the second violins back from the fore-
When a quartette club has no attack, no ensemble rendered. There was more tone in Mr. Franko's ground, which is entirely occupied by the first.
in technique, no expression, nor an appreciable performance than when he played a few evenings Mr. Henschel makes other radical changes, which
we fear will not stand the test of time. Other
understanding of Beethoven's ideas, then, as a previous in the same hall.
matter of course, a Beethoven Quartette becomes In the Legende of Wieniawski, Mr. Franko did directors have attempted the same kind of erratic
an etude, and we do not care to listen to an etude ; not succeed so well. We do not mean technically, distribution, but have failed in every instance.
we want to hear music. Notes or musical figures as there was no fault in that respect. There is, Among others we may mention Asger Hamerick,
are not music ; they only represent music, and if however, a certain depth of sentiment pervading director of the Peabody orchestra, Baltimore,
they are played without any effort to interpret the this musical poem which the performer failed to who undoubtedly differs very much with both
musical precedents and Mr. Henschel. He groups
intention of the composer, they remain simply recognize.
firsts, seconds and violas to his left in one body,
notes.
The Mazurka of Damrosch, and " Danses Co- the
'cello and basses in front of his desk, and to hig
The gentlemen who compose the Standard Quar- saques," by Sternberg, seem to be better adapted to right,
beginning with the flutes on the outside, he
tette Club are excellent orchestral players, but if Mr. Franko's style. They were both well played, has a line
reed instruments extending back to
they wish to give an evening of quartette perform- and the applause which they elicited was merited. where the ot
horns begin. The most competent mu-
ance they must endeavor, in the first place, to play
Mr. Franko, who is an artist, will doubtless sical judges
decided against him, and his
ensemble, and in the second place, to give a poetical succeed, as all his playing gives evidence of care- concerts have have
been artistic failures. He still ad-
expression to a quartette, not simply play the notes ful study.
' to the method, however, and we suppose
technically correct. Mr. Constantin Sternberg Mr. H. Rietzel, the pianist, played Scherzo (B heres
played the piano part in Goldmark's piano and flat, minor), Chopin; serenade, by Moszkowski, and Mr. Henschel will adhere to his idea.
violin sonata, op. 25, with excellent judgment and Tarantella, by Rubinstein,—in all of which he was It may be due to this distribution of the instru-
with artistic appreciation.
thoroughly successful. His playing was character- ments that the proper effect of the symphonies was
ized by much vigor and a thorough appreciation lost. No doubt, Mr. Henschel is a musician of
of the subject. The only fault we find is his in- profound acquirements, yet he is by no means
BENEFIT CONCERT.
at times to be too vigorous. The con- adapted to the direction of an orchestra. His is
E were invited to attend a concert given on clination
was an enjoyable one, and we would have been not the first instance of such an apparent anom-
Dec. 2, at Steinway Hall, "for the benefit cert
aly. Mr. Henschel may understand the tempi. He
of our late President James A. Garfield's Mother." glad to see a larger attendance.
understands how the work should be performed,
The choice vernacular nearly tempted us to re-
but he lacks the quality of conveying his ideas to
main a great distance from the hall. We were
the orchestra. It seems as if his energies are all
THE FLORENCE RICE-ENOX CONCERT.
anxious, however, to hear one or two numbers on
in directing the technical score and keep-
the programme, and this induced us to attend the T)ROMINENT members of Mapleson's company occupied
bin forces together, and no resources are left
benefit.
J_ sang at the Florence Rice-Knox concert at ing
the poetry or sentiment to the
Mme. Pauline Oanissa, prima donna soprano, Steinway Hall December 8. There was a good at- to him to convey
Each player expresses his individual
seemed to infuse the whole scene. Theodore tendance, and the audience was appreciative to a performers.
in the absence of a cue for the expres-
Thomas led an orchestra of venerables, who degree. Mrs. Knox sang Braga's romanza, " Mar- sentiment
of a general sentiment. The correct per-
played the " Euryanthe Overture," by Weber, guerite's Three Bouquets;" a duet with Del sion
of a Brahms symphony or Liszt's
with technical precision and good-natured indif- Puente, from " La Favorita;" "Mai Reggendo," formance
"Les Preludes" depends as much upon aesthetic
ference. Then a Mr. Chas. Ahl, tenor (his first from " Trovatore," with Campanini; a duet with effect
ai upon mere tone effect.
appearance), sang "II mio tesoro," from "Don Minnie Hauk, from " Mefistofele," " LaSerenata,"
Mr. Carl Bayrhoffer, the violoncellist, is not a
Juan," with good voice, poor method, and a total and appeared in the sextette from "Lucia," with
disregard of sentiment. Subsequently, a young Minnie Hauk, Campanini, Del Puente, Mr. Fritsch solo performer, as he must have recourse to his
notes, and thus loses every chance which distin-
lady played some piano solos, and seemed to be and Sig. Corsini.
anxious to get through as quickly as possible.
Minnie Hauk sang Eckert's "Echo Song," but guishes the solo from the quartette or orchestra
Thereupon appeared Mme. Pauline Canissa, was miserably accompanied. The Italian gentle- player. With the notes in front of him no solo
prima donna soprano, and began Beethoven's man at tho piano tried to run ahead of her, to performer can possibly do more than play notes.
sublime song, "Ah Perfido," having the advantage keep behind her, and to play in any other time There exists no single instance in which more
of an orchestra to accompany her. Having seen than the singer, and he succeeded admirably. than a commonplace solo performance has taken
an announcement of an "attack of severe hoarse- Campanini was hoarse, and in his duet with Mrs. place when the notes were used. Using notes is
ness" distributed about the hall, we were prepared Knox had to stop short, throw up his hands in an evidence that the composition has not been
to meet impending disaster. It came. Notwith- despair, and retire ingloriously from the stage. sufficiently practiced for performance in public.
standing the severe hoarseness, it must be admitted After recovering the control of his voice he re- Mr. Bayrhoffer is also afflicted with the unmusical
tremolo that prevents tone and purity of expres-
that the lady was once upon a time a singer of turned with Mrs. Knox and finished the duet.
sion. He ia splendid material for an orchestra.
ability, and the debut of her pupil, Miss Lottie L.
Natale, shows that Mme. Canissa is a teacher of
PATTI CONCERTS.
ability. Miss Natale has a very sympathetic voice,
THE SAALFIELD CONCERT.
Four Patti concerts took place here, including a
of unusual compass, which may be developed by
study. The next time she sings she will probably TV/TINNIE HAUK sang at the Saalfield Concert at matinee on Saturday, December 10, the last con-
take a glance at the audience, instead of constantly -^'-^ Steinway Hall, December 10, to a very mixed cert being on the evening of December 13. Music
looking in the direction of the East River Bridge. audience that went into raptures, especially over Hall had a quasi stage in front of the organ for
Scotch songs and the mossgrown ballad, the " one acts" from "Faust," "II Trovatore,"
We must praise the artistic rendition of Wien- several
"She's Fooling Thee." Her most interesting "La Traviata," and "Aida." The attendance
waski's "Polonaise," No. 2, for the violin, played selection
was Katarinas song from "The Taming was very large, and the receipts consequently en-
by Mr. Sam Franko. After the orchestra finished
the Shrew," which was deservedly applauded. able Mr. Abbey to carry out his contract without
Leo Delibes' Suite "Ballet Sylvia," the super- of
Mme. Hauk was accompanied in a villainous man- much trouble. Thirteen hundred tickets were
annuated Darcie stepped upon the stage, having ner.
was so annoyed that on a recall she sold at the office on Saturday for the matinee.
been selected as orator for the occasion, and told played She
own accompaniment. Space is too val- This sale in addition to the sale of season tickets
the expectant but stupefied auditors that: "Mme uable to her
mention her associates on the programme. filled the spacious hall to overflowing.
Canissa could not sing In—In—Involami from Er—
The Patti performances having been fully
Er—Hernani, as her physician had positively,
analyzed in THE MUSICAL CRITIC AND TKADE
most positively, forbidden her to sing." (Applause.)
REVIEW, it is only necessary to add that they pre-
That removed several series of accidents from the
THE REV. MR. ROBINSON'S BENEFIT.
sent no changes other than in slight details.
programme, and after a very stale song from
HAT was announced as a "grand festival en- Adelina Patti maintains her position as a re-
' 'Joshua," by Ahl, some piano pounding and various
tertainment under the auspices of the Be-
matters, ending in the march from " The Prophet' nevolent Association of the Lady Friends of the markable artist, gifted with a remarkable voice,
and supported by a very incompetent comjjany.
by the orchestra, the concert was at last over.
New York Juvenile Guardian Society," came off She must appear in opera with proper surround-
before a slim audience in the Academy of Music ings before she can satisfy the demands of the
SAM~FRANKO'S CONCERT.
December 8. The audience might have been American musical dil/etanti. A financial success is
R. SAM FRANKO, the violinist, gave a con- larger had not a prominent daily paper exposed gratifying, no doubt, but an artistic success is
cert at Steinway Hall on December 7, with the thing as really a benefit for the Rev. Mr. D. F. necessary to make a lasting impression.
the assistance of Miss Rachel Franko, soprano Robinson, whose methods have frequently been
HENSCHEL BKCITALS.
Mr. Herman Rietzel, pianist; Mr. Constantin denounced by the press. Among those who Lad
Sternberg, pianist; and Mr. Ernst Jonas, violon- volunteered to sing was Miss Marie Glover, a prom- The first of the four vocal recitals by Mr. and
ising young singer, who, on learning of the charac- Mrs. Georg Henschel was given at the Meionaon
cellist. Mr. Paul Torek was the accompanist.
The concert opened with the Rubinstein B flat ter of the proposed entertainment, promptly with- on Tuesday afternoon, December 6. Mr. Henschel
trio for piano, cello, and violin, played by Messrs. drew h«r name from the programme.
sang Handel arias, Schumann's "Was hoer ich
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