Music Trade Review

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January 5th, 1882.
THE MUSICAL CRITIC AND TRADE REVIEW.
THE PHILHARMONIC CLUB.
HE second concert of the Philharmonic Club,
which took place at Chickering Hall De-
cember 20, presented a programme of the choicest
chamber music.
Kubinstein's Quartette, in F, op. 17, No. 3, was
the opening number, followed by a serenade and
etude, by Moskowski, for the piano, played by
Mr. Alexander Lambert. Mme. Schelle-Gramm
sang "Widmung," by Schumann; '"Fur Einen,"
by Franz, and "Jungo Leider," by Brahms. Mr.
Eugene Weiner gave two flute solos, by Doppler,
followed by Mme. Schelle-Gramm with Schubert's
"Widmung," and tho concert closed with Iiein-
berger's Quintette, op. 111.
As we said before, this was a choice selection of
numbers for a chamber music concert, and the
renditions were, generally speaking, most gratify-
ing to all music lovers present.
The Rubenstein Quartette is a thoroughly rep-
resentative work of this genius, abounding in his
peculiar melodic structures, which become so en-
chanting when properly performed. The club
undoubtedly merits great praise for tho artistic
manner in which this work was m produced.
The only exception to be taken, is an absence of
equality in tone, there being a; preponderance of
tone in some of the instruments of the Quartette,
while one, especially, is proportionally weak in
tone. This will, however, be remedied in time.
Mr. Alexander Lambert played with expression
and sentiment, and appeared to be perfectly at
home with the Moszkowski compositions. If he
could divest himself of temporary nervousness,
he would appear to much better advantage, and
his merits as a performer could be more readily
distinguished.
Mme. Marie Schelle-Gramm represents a true
type of the German lied vocalist, her conception
of the songs of Schumann, Robert Franz, Brahms
and Schubert being of a high order, and the ex-
ecution of the same in many respects faultless.
A thorough method, characterized by proper vocal-
ization, pure intonation and distinct articulation,
results in giving these beautiful songs a new rev-
elation, especially when sung with such delicate
phrasing as Mme. Schelle-Gramm can give them.
Mr. Eugene Weiner has tone and execution, and
his selection of Dopper compositions proves him
to be a musician of taste and progressive ideas.
The Reinberger Quintette, in C, op. Ill, is one
of the later compositions of this gifted and ambi-
tious composer. To the Philharmonic Club and
Mr. Lambert, who performed the piano part, must
be accorded a recognition of conscientious work
in the rehearsals and performance of this work.
The next concert will take place January 17.
T
0RAT0BI0 SOCIETY.
"THE MESSIAH."
f"F^HE second public rehearsal of the Oratorio
X Society took place at Steinway Hall, Decem-
ber 27, and the second concert, December 28.
"The Messiah" was given, with the following solo
artists: Soprano, Miss Hattie L. Simms; contralto,
Miu Anna Drasdil; tenor, Mr. A. L. King; basso (?)
Mr. Franz Remmertz. Dr. Damrosch, conduc-
tor.
At this season of the year "The Messiah" is ap-
propriate. Handel's oratorio was composed in
1741, and it took him just twenty-four days to
compose it. In its pristine style it would sound
still more superannuated than it does now, but
Mozart, in 1789, wrote additional and more elabor-
ate accompaniments to it. Were it not for these
accompaniments, we would rather be excused from
hearing a work now one hundred and forty years
of age.
As it is, it should be superseded by modern
oratorios, which are much more in consonance
with out mental development.
There are several other reasons why "The Mes-
siah" is produced so often. One is the religious
sentiment that is connected with it, and the other
is the ease with which it is produced, as most
chorus singers and nearly any kind of an orchestra
can sing and play it, either from habit or because
it has no great difficulties, unless the absence of
musical sentiment becomes a difficulty to some
singers and players.
"The Messiah" will continue for a time to re-
main a fixture on oratorio repertoires unless
musical culture suddenly ascends to a height
which demands more than scientific counterpoint.
"OLIVETTE" AT THE BIJOU.
T ARGE audiences have witnessed the recent
I J performances of "Olivette" at the Bijou
Opera House. New Yorkers never seem to weary
of this pretty operette, but find it an unfailing
151
source of delight even when presented in an ordi-
MUSIC IN BOSTON.
nary manner.
THIRD
PHIIiHAE3IONIC CONCERT.
The title role, as played by Selina Dolaro, is
familiar to opera-goers as a coarse and sensual HPHERE seems to be no end to the throngs that
interpretation of the part. She dances the faran- J_ continually fill Music Hall to hear classical
dole with a vulgar suggestiveness that would make concerts. There is no other city of the size of
even a Police Commissioner blush. The delicacy Boston whose inhabitants contribute to nil kinds
with which Aimee can do naughty things on the of musical entertainments with such avidity and
stage is an art that Dolaro has not yet learned. with such lively attention. The attendance on
Miss Lillian Russell made a very attractive Countess, this occasion, December 22, was, as usual, large;
and was frequently encored on successive evenings. but, we are sorry to say, not attentive, inasmuch as
The funniest acting was done by Raymond many people, having no consideration for the feel-
Holmes in the role of the Duke des If a. Raymond ings of the audience, left the hall during some of
was extraordinarily rusty in his lines. The the most interesting portions of the programme,
prompter was kept very busy, and to show his and when no interruption should have been tol-
appreciation, Raymond said to him very audibly, erated.
"Thank you," before going on with his part.
There are some regulations which prevent per-
Mr. Greensfelder should learn that the part of sons from entering the hall during the movement
Captain Merrimac calls for a little comedy acting, of a work, and a similar rule should exist to pre-
and not the farcical style in which he plays it. vent persons from departing until a number or
Mr. Greensfelder, who lias a good voice that would moTement has been finished.
be greatly improved by cultivation, interjected
The programme of the third Philharmonic con-
some horseplay into the role that was not at all cert
consisted of Mendelssohn's overture, " Heb,
funny, but highly objectionable.
rides;" Haydn's C minor symphony, No. 9, and
As for the rest of the company, they were worse Liszt's " Les Preludes." Mr. Carl Baermann-
than a lot of country amateurs in a barn.
Professor of the Royal School of Music, Munich,
played Beethoven's Piano Concerto in G, op. 58,
and Chopin's Nocturne, op. 48, No. 1; a rondo, by
LOUIS BLUMENBEBG.
J. K. Paine, and Liszt's fantasie on "Don Juan."
r
T^HIS remarkable violoncellist was specially en- To us, the absorbing question centred itself
_L gaged for two solos at Koster k Bial's Concert upon the abilities of Dr. Louis Maas as an inter-
Hall on Twenty-third street on December 25. A large preter aud conductor, especially of Liszt's tone-
audience gathered on tho occasion, which became poem, which was the test composition of the even-
enthusiastic after hearing his first number, "Danse ing. The prejudices prevailing against every ar-
Hollandaise," by Dunkler. He performed as an tist who attains to distinction often prevent true
encore one of Sivori's Romances, which were orig- merit from becoming fully presented. Although
inally composed for the violin, but were trans- this is a sorrowful condition of affairs, it is never-
cribed for the violoncello by Blumenberg. Ole theless true, as a great many artists will testify to.
Bull's "Capriccio" was the second number, which
If, in addition to this natural inclination toward
was also heartily applauded and encored.
prejudice, any additional incentive, like rivalry
Blumenberg is the most phenomenal violoncellist between contemporaneous organizations, is added,
who has ever appeared here, Ms technique, tone, the feelings of the partisans manifest themselves
and command over the instrument being simply in more than ordinary exhibitions.
marvellous.
Here, in Boston, a series of symphony concerts
has been given under the direction of Mr. Hen-
schel. A great many critics have found the riv-
SCHUMANN'S SONATA IN A MINOB.
alry that naturally sprung up a source of intense
[MIT LEIDEXSt'HAFTLieHEM AVSDHUCK.]
activity for unpleasant remarks and controversial
in the papers, instead of welcoming all
The brilliant room, the flowers, the perfumed calm, items
kinds of competition in the progress of the art of
The slender crystal vase where all aflame
music.
The scarlet poppies stand erect and tall;
Dr. Maas has, of course, come in for his share
Color that burns as if no frost could tame;
of uncomplimentary mention. The real question
The shaded lamp-light glowing over all;
merit has, during all this time, been delayed;
The summer night a dream of warmth and balm. of
but we propose to make that, the critical test, and
nothing else but that.
Out breaks at once the golden melody
Dr. Maas directed the works on the programme
"With passionate expression"—ah, from whence with intelligence and thoroughness, which was free
Comes the enchantment of this mystic spell,
from ostentation and unseemly display. He pos-
This charm that takes us captive soul and sense, sesses unusual repose and a dignified* manner of
The sacred power of music—who shall tell,
conveying his sentiments to the orchestra. He has
Who find the secret of its mastery?
undoubtedly made "Los Preludes" a most in-
teresting study to himself, which has resulted in a
complete production of the musical idea, espe-
Lo, in the keen vibration of the air,
cially when the limited means at his disposal are
Pierced by the sweetness of the violin,
considered.
Shaken by thrilling chords and searching notes
That flood the ivory keys, the flowers begin
There can exist no doubt that Dr. Maas has
To tremble,—'tis as if some spirit floats,
attained an intellectual grasp of the whole subject
And breathes upon their beauty unaware.
which comes within his immediate scope, and his
talent will find a fertile ground for future devel-
opment in the field which he has selected.
Stately and still and proud the po23pies stand
The concerts of the Philharmonic are bound to
In silken splendor of superb attire;
improve upon each other, if continued under the
Stricken with arrows of melodious sound
direction of their present conductor.
Their loosened petals fall like flakes of fire;
The pianist of the occasion, Mr. Carl Baermann,
With waves of music overwhelmed and drowned,
scored a decided success with the audience. He seems
Solemnly drop their flames an either hand.
to us to be one of those finished German piano-
forte scholars who have, by incessant application,
So the rare moment dies, and what is left?
developed into technical artists of unusual promi-
Only a memory sweet to shut between
nence, and have supiilemented their pianoforte
Some poem's silent leaves, to find again,
practice with the ability to interpret the works
Perhaps when winter blasts are howling keen,
that come under their fingers.
And summer's loveliness is spoiled and slain,
Especially has the legitimate classical school
And all the world of light and bloom bereft.
been cultivated by artists like Mr. Baermann.
His performance of the Beethoven concerto was
But winter cannot rob the music so!
the most interesting portion of the work. The
Nor time nor fate its subtile power destroy
technical performance was thorough and effective,
To bring again the summer's dear caress,
more so than with many of the renowned pianists
To fill the heart with youth's unreasoning joy— who have come here with a flourish of trumpets.
Sound, color, perfume, love, to warm and bless,
Mr. Baermann has undoubtedly made Beethoven
And airs of balm from Paradise that blow.
a study, and if he continues to perform the works
—Celia Tliaxter, in the January Century.
of the master, he will continue to gather laurels.
The rondo, by J. K. Paine—a commendable
work—was also played with finish ; but his
BEHINDHAND.
Chopin, and even his Liszt interpretations, were
WESTERN so-called musical journal has the too plastic, and the former, especially, too pedantic.
following in its December number, under Mr. Baermann is an excellent pianist, however.
Every pianist cannot bo a Chopin nor a Liszt in-
the "latest musical items":
"Mr. Rudolf Bial has recovered from his recent terpreter. To be an interpreter of Beethoven
would seem io be a distinction of more than usual
illness."
The fact is, the late Mr. Bial was buried Novem prominence, and this distinction Mr. Baermann
merits.
ber W. "Stephens, you are behind the times."
A