Music Trade Review

December 20th, 1880.
THE MUSICAL CRITIC AND TRADE REVIEW.
those countries which have no history," says an eminent writer, and in the violin, strange to say, being often impure in intonation. This may have
same sense we can say : " Happy are those critics who have no concerts to been only nervousness, since the difficult scherzo, with its quaint jerks and
write about." But this happiness is not yet mine, and I have a "tale " of runs, and the yet more difficult Allegro Assai, with its alternating Staccati
concerts which I will proceed to "unfold," although there is nothing in it and Legati, were finely given.
The Mendelssohn quartette began roughly, but this disappeared after a
which will "freeze your blood with horror."
First and foremost, that noble assemblage of swallowtails yclept the dozen bars had been played, and the rest went finely, its melodious form
Apollo Club has given an excellent concert. Not one which contained a giving excellent opportunities for shading and expression, which were im-
large eduoational work, but, nevertheless, a beau ideal of a popular pro- proved to the utmost.
At last the Dwight Testimonial Concert has taken place, and the fore-
gramme. It began with an impressive work of Gernsheim, entitled " Sala-
mis." In this number (which reminded of the Grecian works of Bruch and most of American critics has been substantially honored with a concert
Mendelssohn), the tenors were especially excellent. It is one of the greatest which, I am (unofficially) informed, will bring him a sum of between three
charms of this organization that not only are the basses broad and massive, and five thousand dollars. In this spontaneous outburst, one sees a resem-
but the higher voices also have a manly and full quality ; not of that light, blance to the manner in which the friends of Robert Franz rallied to his aid
sugary quality which Heine derides in one of his poems, calling it a " Stim- a few years ago. I am sure that I need not dwell upon Mr. Dwight's labors
in the field of music; when one thinks on the discouraging influences which
melein," with an oriental adjective attached.
A "Roundelay," by Rheinberger, reminded strongly of Schubert's male surrounded him twenty or thirty years ago, and how through it all he re-
mained faithful to his ideal, one mu&t respect even where one cannot always
chorus (horned)—" Night in the Woods."
Mr. Warren Davenport, a member of the mtisic committee of the club, agree.
The programme of the occasion was chosen mainly by Mr. Dwight him-
is to be complimented upon his arrangement of Taur's '• Serenade;" it made,
deservedly, a most pronounced success. The balance of voices in this was self, and was as follows :
Fifth Symphony, in C minor, op. 67, Beethoven ; Allegro, Andante,
perfect, and the solo (by Mr. J. F. Winch), was also deserving of the sweep-
ing adjective. Mr. Winch, later in the evening, sang " Oh, Euddier than Scherzo e finale, (Triumphal March) ; Twenty-third Psalm, " The Lord is
the Cherry," that wonderful picture of Handel's wherein the uncouth antics my Shepherd," op. 132, Schubert; Four-part chorus for female voices and
of the one-eyed cyclops, under the influence of love, are so quaintly por- piano, sung by a volunteer choir, including members of the Boylston and
trayed. It was remarkably well sung, recalling the clear phrasing and style Cecilia clubs, under the direction of Mr. George L. Osgood, Mr. J. C. D.
of Chas. Santley. In long phrasing I do not believe we have any public Parker at the piano ; Concerto, in C, for three pianos, with string orchestra,
J. S. Bach; Allegro, Adagio, Fugue, Messrs. J. C. D. Parker. Arthur Foote,
singers in Boston who excel Mr. Winch.
A popular selection was " The Young Lover," by Koschat. The more and John A. Preston ; Concert-Stueck, in G, for piano and orchestra, op. 92,
I hear of the works of this composer, the more I am convinced that they will Schumann ; Introduction and allegro appassionato, Mr. B. J. Lang ; Quar-
last a great while. In their unaffected simplicity, I see a strong resemb- tette (Canon) from "Fidelio," op. 72, Beethoven, Mrs. H. M. Rogers, Miss
lance to the folk songs of Silcher, which have existed for half a century, and Edith Abell, Mr. Charles R. Adams, and Mr. John F. Winch ; Overture,
will continue to be sung for a century or two more. But it is unsafe for " Meeresstille und gliickliche Fahrt," op. 27, Mendelssohn ; Illustrating
this club to go too deeply into this kind of work. It does not require such Goethe's poem: 1, "Becalmed at Sea," 2, " A Breeze and a Prosperous
able material to present such simple music ; both the public and the singers Voyage."
The fifth Symphony was chosen because it was the first one performed
could soon be spoilt by a procession of such easily won triumphs. A great
performance of "Frithjof" (soon to be given), may not evoke so much ap- here, and because Mr. Dwight's earliest recollections of classical (orchestral)
music cluster around it. The " Prosperous Voyage," with which the whole
plause, bnt certainly fulfills the mission of such an organization better.
The "Nun of Midaros," by Dudley Buck, was well rendered. I have ended, was a musical way of wishing the beneficiary a pleasant voyage down
the vale of years. The performance being entirely a voluntary one, is not for
before reviewed the work.
M. Alfred Deseve (who we believe is rather of Canada than of Paris), criticism, and was, in the main, an excellent one. Some strong names were
made a great success in his violin solos at this concert, almost amounting to conspicuous by their absence from the performance, but with so many
a furore. I have but recently spoken of this violinist. How brilliant his volunteers it was partly unavoidable that it should have been so.
There has been another performance of the "Damnation of Faust,"
technique is, was abundantly proved in a saltarella by Alard, a composition
the style of Bazzini's "Witches Dance " {Eomie des Lutin) ; his pure intonation under Mr. Lang's directorship, and that unhappy individual must stay so
and his broad legato work were displayed in Vieuxtemps'' 'Reverie," and Raff's until the arrival of Thomas, who will reconduct him to the '' pale realms of
" Cavatina." I only find fault with his exaggerations, his " echo " effects, his shade."
As the performers were almost the same as before, I need not dwell
excessive shading. That is the road that Ole Bull took, and on which
Bemenyi is now going ; but it is not the path on which Wieniawski went, upon details. The students' and soldiers' chorus went better ; Miss Bailey's
nor that upon which Wilhelmj or Joachim are going. M. Deseve must try Marguerite was exquisite ; the trio was bad, and the orchestra very good,
to overcome the temptation to catch the applause of the unthinking. I am save for a few unlucky slips in the brass, because of the conductors taking a
doubly glad of this artist's great success, since an effort was made (in inter- movement (the invocation), before they were ready. The Faust of the
ested circles), to prove him unfit to stand in the backyard of the temple of occasion was Mr. Jules Jordan, who sang intelligently, but not broadly.
When Faust begins to lisp and to use the falsetto, we begin to sympathize
fame.
L. C. E.
In connection with the solo work, I must speak of the accompaniments with Mephistopheles.
of Mr. B. J. Lang, the director ; I never heard more musicianly work in this
PHILADELPHIA.
direction.
The concert closed with Schroeter's " Champagne Song," and lo ! two
ENGLISH OPKRA.—GERMANIA OB0HESTKA.—OTHEK ENTERTAINMENTS.
days after, a shocked auditor budded out in a daily paper with a lament
PHILADELPHIA, Dec. 14th.
that this club should sing " drinking songs." The innocent, probably does
not know that the whole spirit, the entire OemMhlichkeit, of the German
GLISH opera has strutted its brief hour upon the stage, said " hour "
Mtennerchor rests upon this foundation. They are not vicious, they are
being, in this case, a fortnight. I gave you most of the points in last
jolly, and a trifle Bohemian, withal, I do not lament that the club sings letter. I was sorry afterwards, however, for what I wrote regarding Mile.
drinking songs, I only lament that they do not sing them better. The Torriani's voice being weakened, presumably, at that writing, by causes
champagne song was not much stronger than circus lemonade, or, at the which indicated a permanent loss. Mile. Torriani, who is an excellent
highest, claret punch. A little roughness, a good deal of shouting, and artist, as all know, was suffering from acute illness on the occasion of her
considerable studential hubbub may not only be pardoned, but desired in only appearance here. Her physician said, later in the week, that she was
such a selection.
seriously ill with an attack of pneumonia, and her name was no longer given
At the Third Philharmonic Concert (Dec. 3d), Mr. Wm. H. Sherwood in the bills. The biggest crowd and greatest success of the two weeks were
made a great success in Liszt's " Wonderer " Fantasie, and the Polonaise in on the occasion of Mme. Roze's benefit, in which she appeared for the second
E by the same composer. He was in one of his best moods and performed time as Carmen. Every nook and corner of the new Chestnut was occupied.
with a grandeur and majesty which was electrifying. The audience, too, The floral offerings were ostentatiously displayed in the foyer prior to the
seemed to catch fire, and the applause was generous and spontaneous.
rising of the curtain, and were combined with or used to conceal nmch other
Boston should hear this artist far more frequently ; as it is, owing per- store of costly gifts, such as plaques, Russia leather goods, etc. It was not
haps, partially to the ruts in which our music moves, his greatest successes alone the good singing, nor the charming acting of Marie Roze in this role
are elsewhere. I know his limitations perfectly well, but in some of the which secured such marks of favor. She dresses the part magnificently.
Beethoven concertos, and Liszt and Schumann compositions find him in Then there is a charming little bit of dialogue, which, so far as she appears
advance of all our Eastern pianists. Another feature of this concert, was therein, with her pleasant French accent, goes a great way. When she tells
the. appearance of Miss Fannie Louise Barnes as solo vocalist. She sang Don Jose that she knows he is in love with her, because she knows all the
the "Dove Son o " and Gomez's " Piccirella." Her voice is free from the " seem tomes," the house " tumbles " to her, so to speak. On this benefit
modern vice of the tremolo, and her phrasing is intelligent and good. The night it appears that Mr. Carleton, who made as good an Escamillo as could
faults are a lack of color, and an absence (at least on this occasion), of a good well be imagined after Pantaleoni, had secretly determined to appear in a
trill.
new rig in the great toreador scene, and dazzle his audience. By hook or
The orchestral selections were, as usual, of a high grade, and it was crook the knowledge of this plan reached the ears of the other principals be-
pleasant to listen to the Pastoral Symphony among the host of heavier col- forehand, and there was a general refurbishing of costumes, so that the whole
ored orchestral works which the organization has been giving. It was well affair had all these additional attractions, enabling it to rank as a gala per-
read by Mr. Listemann—perhaps a trifle too quick at times.
formance.
The opening figure was clearly given by the violins, in the first bar, and
As this was the first season of opera held at the new Chestnut, there was
its development was as clearly carried out through all the numerous repeti- much cause for gratification that it should have gone off so brilliantly.
tions.
After the troupe had all started for Chicago, where they now are, the man-
In the " Scene by the Brook," the bassoon was well played in its short ager published a card, full of strong adjectives, in which it was stated that,
solo, as also was the 'cello accompaniment, both in the horned and pizzicato during a long experience in Europe and America, the artists whose names
passages. The flute wavered once or twice, and the clarionet arpeggios were were appended thereto, comprising the whole company, had never sung in a
not clear. Both oboe and horn were well played in the themes of the " Ga- better house, and had never found dressing rooms behind the curtain more
thering of the Peasants," as also was the flute in the high passages which sumptuous, convenient, and home-like. Two of the said artists had pre-
come like rifts of blue sky at the clearing off of the storm; but in the final viously remarked to me that the accommodations back of the curtain were
movement, at the celebrated passage of fifths and octave skips, the horn disagreeable meagre and insufficient. So, what are you to believe?
broke badly. The performance closed with Liszt's "Pesther Carnival,"
Sig. Perugini, who was severely handled by your able Boston staff cor-
which seemed like a rather overgrown polka.
respondent, made friends here. He was not well, and yet in the frequent
The first concert of the Euterpe took place at the Meionaon, Dec. 1st. repetitions of Mefistofele, he succeeded in giving a strong impersonation. On
The E flat quartette of Cherubim and the E minor of Mendelssohn consti- one occasion he appeared to the stage manager to apologize for him in ad-
tuted the programme. The performers were B. Listemann, F. Listemann, vance of the performance. This being refused he quietly walked before the
J. Mullaly, and A. Heindl, constituting the "Listemann Quartette." The curtain himself, made a neat speech, and promised to do as well as pos-
first two movements of the Cherubini number were poorly done, the first
( Continued on page 10.^