Mason-Thomas Chamber Music Soiree: 3rd

“The programme for the third Soiree of Chamber Music at Irving Hall on Saturday evening, embraced Haydn’s quartet in D minor and Schumann’s No. 2, in A, played by Messrs. Thomas, Mosenthal, Matzka, and Bergner, and Beethoven’s trio in B flat, in which Mr. S. B. Mills took the piano part. The Haydn quartet is a delightful composition, which the master seems to have written in his merriest mood. The allegro sparkles with good humor; the andante is full of a delicate feeling which is touching without being mournful; and the minuet is a rollicking bit of jollity which inevitably provokes a smile. The performance was excellent, full of grace, spirit, and intelligence, and marked by the fineness of shading which distinguishes true artists from merely correct players. In the Beethoven trio, the admirable touch of Mr. S. B. Mills, especially in the andante cantabile, contributed a charm to the performance, and was very keenly appreciated. The movement we have mentioned, and the scherzo, are the most impressive parts of this trio; and the andante, in particular, is delicious. The Schumann quartet is a noble study, but far less interesting and pleasing than the other composition, nor was it played by any means as well.”

“New York, March 2.—Messrs. Mason and Thomas’s 3d Soirée occurred at Irving Hall on Saturday evening, Feb. 23 [sic]. Mr. Mills was the pianist and the following was the programme:

Quartet, D minor…..Haydn

P. F. Trio, B flat, op. 97…..Beethoven

Quartet, A, op. 41, No. 8…..Schumann

In the first Quartet there seemed to be little of the usual spontaneity of Haydn’s works; its chief attraction is the simple melodious Andante and the Menuetto. In the latter a quaint effect is produced by the coming in of the viola and ’cello—in imitation—a bar behind the violins.

The glorious Trio did not seem to ‘go’ with the desirable unity and vigor; just where the fault lay it would perhaps be difficult to say; it seemed as if the artists had not rehearsed together. This view may be erroneous, but such was my impression. I once heard this Trio played by Joachim, Jaell, and Jacquard, in Paris.  Their rendering of the divine Adagio is something never to be forgotten.  The Schumann Quartet needs to be heard many times before one can fully appreciate it.

The Soiree was attended by the usual small auditory of about 200 people. At a neighboring hall, however, a ‘testimonial’ concert had some five of six hundred listeners, and—it is needless to say—each opera house was well filled. I hope to live to see the gravitation of taste toward the best music.”