Music Trade Review

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November 20th, 1881.
THE MUSICAL CRITIC AND TRADE REVIEW.
101
detail and the smooth and even manner of a per- discovered in the wealth of instrumental coloring.
formance than ever before. Unless these points The most unique portion is the piano score in which
are especially observed, no performance can attain a heroic treatment is found. Technical difficulties
ire not considered, although at the same time a
any kind of success.
The Rice Opera Comique Company is playing thorough knowledge of the resources of the instru-
and singing Gilbert and Sullivan's "Patience" at ment is manifested. It has already attracted great
Booth's this week, and could make a very satisfac- attention in Europe, and notwithstanding the ami-
tory performance if the above principles were .ble critic of the New York World who says that f
ilosely adhered to ; but some of the best points
The first movement is without form and void,—
were lost in the performance, and many disagree- series of disconnected and unintelligible phrases."
able episodes occurred. The musical director, while " the second movement has a good deal of
Mr. Joseph A. Kuhn, seems to be a musician of music in it, and redeems the work from absurdity,"
excellent judgment, but he sometimes appears to the concerto commanded sufficient attention to be
>e on the ragged edge of despair as soloists, erformed at a Philharmonic Society Concert, and
ihoruses and concerted pieces in general seem to ;o be studied by a pianiste as accomplished as
je affected by a kind of musical influenza which Madame Schiller.
nterferes with time and tune.
It is very easy to write that a work or movement
The material of the Rice Company is better f a work has no form. That means what ? Can
than the average, and it seems a pity that the per- nyone, unless he is a master of the subject, de-
formance does not reach above mediocrity. Miss ;ect the absence of musical form after hearing a
Rosa Temple is a handsome, petite person, makes lew work two or three times ? Is it to be sup-
up a little too much and does not endeavor to act posed that anything written by a young genins
in the least. Her voice is similar to that of the [ike Tschaikowsky wants musical form or contains
average chorus singer. The title role should be in my absurdities ? These questions answer them-
MISS COPLESTON'S PIANO RECITAL.
selves.
more active hands.
HHHE first of the three recitals by this young
The Beethoven Symphony was played with
Lady Jane by Miss Rosa Cooke is one of the
_L lady was given at Steinway Hall, Thursday best features of the performance. She must try, plendid dash and in an exhilarating style. The
afternoon, Nov. JO. Miss Copleston performed a however, to keep better time when she plays the ' Adagio" was made especially attractive by intel-
suite, " Op. 204," by Raff; the " A minor Fugue," double bass and move the fingers of her left hand, igent direction and an evident sympathy between
by Bach, arranged by Liszt; five morceaux by as there are more than one or two notes played. the conductor and the performers. It is a well-
Chopin ; an arietta by Gliick, arranged by Josefly; Miss Jarbeau as Lady Angela shows a more intel- known work that requires no special review at
"Themes and Variations," by Haydn, and the igent appreciation of her duties than most of the ;his time.
" Tarantella" from " Napoli e Venezia" by Liszt. ' rapturous maidens" so far seen. The Bunthorne Liszt's " Two Episodes from Lenau's Faust"
This was a programme in which nearly a whole of Mr. McCollin is an exact counterpart of an- demonstrates the masterly command which Liszt
history of pianoforte playing was included, from other Bunthorne; while Mr. Eugene Clark as has over orchestral effects and his success in de-
Bach, through Haydn and Gluck to Chopin, Liszt
rosvenor makes some improvement upon the scriptive composition. The "Neechliche Zug " is
and Raff.
same role as seen at other places.
iqual to any other modern composition in wealth
Miss Copleston is an ambitious and painstaking
jf instrumentation and in the distribution of
young pianiste. She evinces an inclination to
;one-effects among the instruments. An intellec-
PHILHARMONIC CCNCERT.
freely appreciate and fathom the intentions of the
ual analysis of the whole subject of " Faust" as a
composers, as much as she endeavors to attain
HE fortieth season of the Philharmonic Society >hilosophical question in the German mind was a
technical facility which will gradually enable her
of New York was inaugurated on Saturday pre-requisite to any intelligent musical production
to do justice to the very best works of the piano night, Nov. 12th, with a concert, presenting the on the subject, and this analysis has occupied
repertoire.
following highly interesting programme:
Liszt during a great part of his life. No one
It is necessary for her to pay still closer' atten- Overture Tragic, op. 81 (new)
Brahms iould have done greater justice to the subject
tion to clearness and distinctness of touch and a TPiano Concerto, No. 2, op. 44 (new)..Tschaikowsky ihan he.
more judicious use of the pedal.
Madame Madeleine Schiller.
The first concert of the season was in every re-
Miss Hattie Schell sang " Regnava nel Silenzio" Symphony No. 4, B
flat
Beethoven spect a success.
from " Lucia," very acceptably, although she was Two Episodes from Lenau's Faust
Liszt
evidently suffering with a slight hoarseness.
I. Der Naechtliche Zug.
THE HERRMANN BROTHERS' CONCERT.
II. Der Tanz in der Dorfschenke (Mephisto Waltz).
HE
concert given by these two musicians took
A
large
and
appreciative
audience
assembled
MR. GEORGE MAGRATH'S CONCERT.
place at Steinway Hall November 14th.
at the Academy of Music to listen to these com-
HIS talented young pianist gave a concert at positions. Mr. Thomas seemed to be in excellent Mr. Carl Herrmann was formerly a teacher of the
Steinway Hall, on Nov. 10th, at which he per- spirits conducting with energy and apparently piano at the Stuttgart Conservatory; Mr. Edward
formed "Beethoven's concerto No. 4, G. major;" with more than usual interest.
Herrmann was one of the first violins at the Im-
"Rubinstein's concerto No. 4, D. minor," a Chop-
perial Opera, St. Petersburg. The programme
Brahms'
Overture
Tragic
is
one
of
the
late
pub-
in "Etude," and the Weber-Tausig " Invitation a lications from the pen of the German master. It seemed rather pretentious, but it soon became ap-
la Valse."
is colored with that sombre hue and permeated parent that both gentlemen were highly accom-
It is a matter for congratulation that a young ar- with the deep thought characteristic of the works plished and fully able to cope with works of such
tist who desires to introduce himself to the public, he has given to the musical world. Of the ultra- dimensions.
should make musical selections that are not con- classical writers whose efforts consist in disre-
The pianist, Mr. Carl Herrmann, performed
ventional. Instead of performing a dozen composi- garding even the slightest chance for sensational among other works the Henselt Concerto with
tions of various masters, Mr. Magrath undertook effect, Johanns Brahms stands foremost. The secondo piano played by Mrs. Qonstance Howard;
the heroic plan of playing first a Beethoven concer- Overture Tragic is only an additional evidence of Beethoven's " Appassionata Sonata;" Bach's
to, then a morceau of Chopin. He next demonstra- his successful efforts to produce great works, that " Chromatic Fantasia and Fugue."
ted his ability to attack the technique of Tausig, have intrinsic and lasting value, while they are
Mr. Edward Herrmann, the violinist, played
and finally closed witli a Rubinstein concerto.
kept within the laws under which his musical Bach's " Chaconne," a very trying work; a Paga-
Mr. Magrath has evidently given a great deal of education was accomplished, and not such mo- nini Concerto Movement and Wieniawski's " Le-
attention and close study to the development of mentary conditions which might have been created gende." The violinist is an excellent interpreter
pianoforte technique. The Tausig number, the for special purposes, or to suit him for the occa- of the strict classical school, but in the " Legende"
cadenza in the Beethoven concerto, and the Rubin- sion. At the same time, the best results of modern failed to convey the poetic sentiment. Both
stein concerto in its entirety, were played with a instrumentation are applied with the confidence brothers intend to take up their residence here
masterly command of the technical difficulties of and care of a thorough master of that branch of and should be heartily welcomed as valuable ac-
the piano. These are test compositions, and if played musical accomplishment.
cessions to musical circles.
as Mr. Magrath played them, leave an impression
The
piano
concerto
by
Tschaikowsky
is
a
bold
and
that the young artist has capacities of a high order.
original musical idea, the instrumentation and the
NEW YORK PHILHARMONIC CLUB.
As to the poetical conception of the concertos, complete work in ensemble proving the remark made
especially the dramatic "Andante " of the Beetho- by Hans von Biilow, that " Tschaikowsky is one of
first concert took place at Chickering Hall
ven, and the slow movement of the Rubinstein, the original composers of to-day and a symphonic
on November 15th with this programme:
there was a lack of repose and refined playing, and writer without superior." This new piano concer- 1. Quartette—A minor
Wuerst
an absense of the liquid legato so indispensable to to, op. 44, is dedicated to his late friend and tutor, 2. (a) Menuet d'Orphee
Gluck
movements of that character.
Nicholas Rubinstein, who, as a pianist, ranked sec-
(b) Menuetto
Haydn
Perfection in piano playing is a rare accomplish- ond only to his brother Anton. It was composed 3. (a) Intermezzi, Op. 4
Schumann
ment, and although there are armies of pianists with the special purpose of breaking down a bar-
(b) Scherzo, Op. 20
Chopin
to-day, only a very few can claim perfection. Mr. rier that always subjected the piano to a secondary
Mr. S. B. Mills.
Magrath has elements of success in him, and as he place in the tutli and that at the same time made 4. Suite Algerienne, Op. (>(), (one movement)
is young, we do not doubt that he will accomplish the orchestra an accompanist of the piano in the
Saint-Saens
more than the average player.
solo passages. It is an extension of the sphere o. 5. Quintette, Op. 44
Schumann
The Theodore Thomas orchestra assisted with the concerto, by which the solo instruments be
The Philharmonic Club consists of musicians
a programme judiciously arranged. The "Melu- come a factor in the symphony, and the orchestra who are enthusiastic in their pursuit and conse-
sine Overture," by Mendelssohn, opened the con- ceases to be a mere accompanist.
quently do not spare time or trouble in giving
cert, the orchestra subsequently playing three of
every composition adequate rehearsal.
As
a
matter
of
course,
like
every
bold
stroke
o
Brahms' "Hungarian Dances," Leo Delibes' Suite, genius, it will meet with opposition. Beethoven's
The result of this attention and careful rehear-
"Ballet Sylvia," for the first time, and closed with concertos were opposed most violently, and subse- sal is soon heard at their performances, as their
Wagner's " Huldigungs March."
quently Schumann's, and it can only be considered work does not alone consist of a mere "playing"
as highly complimentary if a work is of such pro- of quartettes and quintettes, but of a refined in-
"PATIENCE."
terpretation of compositions, the nuances of which
portions as to call forth such attacks.
As a composition it calls for great admiration. It are prominently brought to notice.
r I ^HERE is no musical work performed at pres-
In the selections of their programmes they
J_ ent that does not require attentive rehearsal is conceived in a broad and dramatic spirit, the
and a complete understanding between all the phrases at times containing original ideas follow- evince a spirit of progressive musical thought.
persons occupied in its presentation. More atten ing each other with surprising effect. It is thor The first concert was a success and indicates a
tion has lately been bestowed uoon the niceties 0: oughly symphonic, and the successful student if prosperous season.
Signor Lazarini "was in splendid voice, and sang
the operatic selections with spirit and grace. His
voice seems to be improving and he will in all
probability make a great success in opera this
season. Signor Lencioni should never again
attempt to sing in a concert, unless he first makes
up his mind to sing and not to scream and spit
and attempt facial contortions. A buffo solo can
be sung with perfect correctness, without all kinds
of disgusting mimicry and comical positions.
The concert stage and the operatic stage are dis-
tinct. But evon on the operatic stage Sig. Len-
cioni and Miss Roosevelt would have failed, had
they sung the duet from "Crispino" so much
out of tune, as they did that night in Chickering
Hall. Mr. Carlos Hasselbrink played violin solos
from Wieniawski and Sarasate, and Raft's Cavatina
as an encore. The selections were made with good
judgment and the young artist played with feel-
ing and expression. Mr. Hasselbrink is an excel-
lent solo violinist who evidently loves his profes-
sion and will no doubt succeed.
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