Music Trade Review

170
THE MUSICAL CRITIC AND TRADE REVIEW.
Music Trade Review
-- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
July 20th, 1881.
omitted one of her airs, she sang the two others with wonderful power and all the more puzzling by a curious absence of effort. She does not agonize
fluency, winning unanimous applause for both, and for the last an with the pianoforte. Her arms do not fly about like mill sails, nor does she
encore not to be declined with courtesy. In this particular air Mdme. Sem- play with her whole body, yet the fingers descend like hammers, and the
brich had already astonished amateurs at the Philharmonic and other con- nstrument shakes to its centre. Scarcely less notable is the lady's delicacy
certs ; but, imposing as it proved on those occasions, it created double the f manipulation in music of a soft and tender character. She plays mezzo-
impression in its proper place, as part of the opera for which it was written, oce passages, especially rapid oneB, with a refinement and equality of touch
and raised the admired Gallician songstress still higher than she stood before nothing could surpass, and it is only to be regretted that the gradations of
tone between a musical whisper and thunder are not equally at her command.
in the estimation of the Covent Garden public.
Mdme. Seinbrich could hardly have been associated with a Blonde more Mdme Menter, however, has been trained in a school which cultivates con-
engaging, or in all respects more eminently endowed for the adequate em- trast, so that we can hardly wonder if she tries to better her instruction.
bodiment of the part, than Mdme. Alwina Valleria, who acted as pleasantly as
Ascending from the artist's truly prodigious execution to questions of
she sang artistically, and whose admirable rendering of her airs—one express- style and expression, we find some strangely conflicting results. It may be
ive, the other animated, as befit the situations in which they occur—achieved doubted, at the outset, whether the passion of her playing is more than a
two of the legitimate hits of the evening.
device. When M. Rubinstein storms over the keys, we know that he could
M. Vergnet, as Belmont, did better than he has done previously since his not do otherwise if he would. There is a corresponding tempest in the
debut, evincing both musical taste and feeling, while his lively companion, region of his feeling. Mdme. Menter, on the other hand, seems to remain
Pedrillo, found a spirited representative in M. Soulacroix. M. Gailhard, too, n the peaceful centre of the cyclone she calls up, and this appearance of
in a dramatic sense especially, was a more than acceptable Osmin, and would artificiality detracts from her power. Similarly in pieces the poetic senti-
doubtless be so in a musical sense, were he not forced to devise occasional ment of which is, as in Chopin's music, like a bloom upon a plum for deli-
slight alterations, in order to accommodate a voice which is anything but a basso cacy, she seems to allow their spirit to evade her. Hence the selections from
prqfondo like that of Mozart's own Fischer, or that of Carl Formes, the most the Polish composer made little effect; the result in this case being as
distinguished Osmin of modern times. Nevertheless, the duet with M. Soul- marked as in that of Beethoven's "Sonata," though for a very different
acroix, where Pedrillo makes Osmin drunk and carries him off on his back, reason.
was acted and sung by the two gentlemen with such humor and vivacity as
We may take objection also to the hard, mechanical style in which the
to obtain another marked success and another unequivocal encore.
artist hammers out themes that should be quite legato and touched caress-
The concerted pieces (duets, trios, and quartets), were all efficiently given ingly; but, passing on, we come to the remarkable fact that sometimes she
what little is alloted to the chorus was equally to be commended ; and from ascends into the highest and purest region of true poetic expression. This
the overture to the end, the playing of the orchestra under M. Dupont, was illustrated the other day by her performance of Scarlatti's "Caprice"
whose evident care in getting up the performance merits unqualified praise and the transcription of "Hark the Lark." Nothing could have been better
than her work here. Grace, sentiment, exquisite delicacy—in fact, all the
left nothing to desire.
The accompanied recitatives to meet the requirements of modern Italian subtle charms of great playing were obvious, and, while calling forth delight,
opera are those composed by Sir Julius Benedict when Mr. Mapleson revived excited, also, surprise that elsewhere they were not present in equal force.
" II Seraglio " at the old Her Majesty's Theatre, with Mdlle. Tietjens as Con Mdme. Menter, however, should be definitely judged on fuller data than has
stanze and Herr Eokitanski as Osmin (1866). More ably and reverentially done yet been accorded. Enough for the present that in her we have a phenome-
they could not be. The Turkish March in A minor, which does duty in non whose astonishing qualities demand the most cordial recognition. She
thfi picturesque interpolated ballet-divertissement, is an orchestral arrangement is an artist to be studied when the glamour of her merely mechanical gifts
of the finale to the 11th pianoforte sonata (1779), originally adopted by M has passed away. But that will not be yet-a-while.—Daily Telegraph,
Carvalho, when, introducing a French version at the Theatre-Lyrique, he London.
was desirous that no music except from Mozart's own pen should find a place in
Mozart's own work. "We should not omit to mention that the small part o
KUSIC TEACHERS' NATIONAL ASSOCIATION.
Selim was confided to Sign or Scolara (the only Italian, if Italian he be, in
the cast). " II Seraglio " is very effectively placed upon the stage, was
HE fifth annual meeting of the Music Teachers' National Association con-
a decided success, and it is to be hoped may remain a fixture in the Coven
vened at the High School, Albany, N.Y., July 5th, and continued in ses-
Garden repertory.—Musical World, London.
sion three days. Delegations from several Western States attended. The
association was welcomed to Albany by Prof. Charles W. Cole, Superintendent
of Public Instruction in that city, to which the President, on behalf of the
SOPHIE MENTER.
society, expressed his acknowledgment. F. B. Rice, Director of the Oberlin
r
T^HIS is an age of pianists, and the present season will be remembered Conservatory of Music, President of the association, delivered the annual
X. as a crowning illustration of the fact. How many may be now upon address. J. C. Fillmore, of Milwaukee, Professor of Music in the Milwaukee
the way hither we do not know, but already we have amongst us M. Rubin College, read a paper entitled "What Are the Sources of Musical Enjoy-
stein, Dr. Hans von Biilow, M. Carl Heymann, M. Lowenberg and Mdm< ment ? " The paper referred to the inferior class of music now being served
Sophie Menter, with others less renowned. The quintet of luminaries i in our churches and Sunday Schools, and the need of reform therein. The
surely sufficient for distinction, even though Dr. von Biilow should persis cause of the state of things was to be found in the fact that there were
in reserving his light for private circles. We trust the Doctor will not so persist numerous kinds of enjoyment to be derived from music, that some of these
It would be cruel of him to withold from English amateurs a unique oppor kinds were greatly superior to others, and that the great majority of men
tunity for the exercise of comparative criticism, and for the determination oi draw musical pleasure from inferior sources. On the afternoon of the 5th,
such interesting problems as the exact relative position of, say, himself and Prof. Louis Maas, assisted by Mme. Bertha Maas, gave a piano recital to a
M. Rubinstein. Meanwhile, Mdme Sophie Menter has stopped forward on large audience.
behalf of those whom Dr. von Biilow calls "petticoat pianists."
At the meeting on July 7th, a paper was read by H. S. Perkins, entitled
We had heard her under the auspices of Mr. Ganz, the Philharmoni " Song Eloquence vs. Chaos." The gentleman laid particular stress upon
Society, and the Crystal Palace, but it is one thing to play a single piece anc the importance of proper pronunciation in singing, and spoke of some
another to undertake an entire programme with a view of keeping ar comical errors produced by indifferent and incorrect phrasing. Mr. F. W.
audience in their seats for two hours. Mdme Menter was bound te emulat Root then read an address, entitled "Half-Truths of Vocal Culture," and
her precursors in this reapect, and she did so a first time some ten day took part in the discussion which followed. Mr. Theodore F. Deward then
since at St. James's Hall, whither flocked a crowd of professors and connois opened a discussion on the tonic sol fa system of notation. Mr. Holt, of
seurs, M. Rubinstein and Dr. von Biilow at their head.
Boston, made an argument to show that the fault lies not with the present
The nature of Mdme Menter's task will appear in its true proportion system of notation, but with the methods used in teaching. He pronounced
if we indicate the contents of her programme. The list comprised an ar it ridiculous for a man like Theodore Thomas to propound methods of read-
rangement by Carl Tausig of Bach's organ fugue in D minor, Beethoven' ing vocal music, a man whose entire life had been spent in the study of
sonata (op. 109), a Pastoral and Capriccio by Scarlatti, Schumann's " Etude orchestral instruments. Dr. F. L. Ritter, Professor of Music at Vassar Col-
Symphoniques," three arrangements by Liszt of Schubert's songs, Liszt' lege, read an essay on church music.
Fantasia on themes from " Les Huguenots," six pieces by Chopin, and Rubin
stein's Valse Caprice.
All these things Mdme Menter played from memory in two hours and
THE PHILHARMONIC SOCIETY.
quarter, not, as may be imagined resting for more than a few consecutiv
n
p
H
E
fortieth
season,
1881-1882, of the Philharmonic Society, of New York,
minutes. In respect of both mind and body, it was a herculean undertak
ing, from which even the great Moldavian pianist might have shrunk, mucl J_ will be under the musical direction of Theodore Thomas. The two hun-
dreth concert of the society will be given during the season. The orchestra
more a lady who, in appearance at any rate, is far from robust.
We see no justification for an artist who brings forward arrangement will be 100 strong and augmented to 125 instrumentalists for special occas-
like that of Tausig, or fantastic perversions like that in which Liszt insult ions. The best orchestral players in New York belong to the society and
Meyerbeer. These things may show a performer's skill, but a pianist shoul there is a growing disposition among the betteT known members to make
always be first and foremost an artist, who, as such, cannot, for the sake o their concerts specially attractive. The society will give six concerts, pre-
mere display, forget the inevitable conditions of service, to highe ceded by six public rehearsals, on Friday afternoons and Saturday even-
ings, at the Academy of Music. At the first concert, which will take place
things.
*
*
*
*
12, a symphony composed for the society will probably be per-
Mdme Menter's entire performance made a profound impression, an November
formed. Arrangements are now being made in Europe to make the coming
was altogether of a remarkable character. We are disposed to think as
mechanician she is unrivalled. There is no need in her case to j>lead season the most attractive one in the history of the society.
that certain effects can only be produced from the piano at the expense of
accuracy. The argument, everybody knows, has often been advanced, not
THE BROOKLYN PHILHARMONIC SOCIETY.
without reason, seeing that the great "lions" of former seasons have all
given forth wrong notes when strenuously roaring. Hence there has grown n p H E Season of 1881-1882 will be the twenty-fourth in the history of the
up amongst us a toleration of such things, if, indeed, wrong notes have not JL Brooklyn Philharmonic Society, and as usual Theodore Thomas will be
been raised to the dignity of a principle and preached as a gospel. Mdme the musical director. The orchestra will be increased to about 100 perform-
Menter demolishes all this at a blow, by proving that there is no real need ers, and the society will have the assistance at two of its concerts of the chor-
for inaccuracy. She is a " lionne," and. can roar as loudly as any male speci- us it organized last season, and which will number this season not less than
men of the order; but she never makes a mistake on the keyboard. She six hundred voices. The chorus will hold regular private rehearsals on Wed-
literally plays what is set down for her, and in the midst of such indescrib- nesday evenings, commencing September 21, under the direction of Mr.
able turmoil as that of Liszt's " Fantasia " her whirling fingers are unerring. Thomas, and will take part in the festival in May at the armory. The socie-
Let us, then, hear no more apologies for wrong notes. As would-be inevit- ty will give twelve public rehearsals and six concerts during the season at
able attendants upon modern development, Mdme Menter gives them the lie the Brooklyn Academy of Music as follows:—First rehearsals, Wednesday
in their teeth. The lady's strength is another remarkable feature. From afternoons; second rehearsals, Friday afternoons; concerts, Saturday even-
what store she draws the power to invest a single instrument with the sonor- ings. This society is also making special arrangements for solo artists in Eu-
ity of half-a-dozen is, looking at her delicate frame, a mystery, and one made rope for the coming season
T