Mason-Thomas Chamber Music Soirée: 1st

Event Information

Venue(s):
Irving Hall

Price: $1.50

Event Type:
Chamber (includes Solo)

Performance Forces:
Instrumental

Record Information

Status:
Published

Last Updated:
15 August 2018

Performance Date(s) and Time(s)

04 Jan 1868, 8:00 PM

Program Details

Opening performance of the thirteenth season of Chamber Music Soirées.

Theodore Thomas, first violin
Joseph Mosenthal, second violin
George Matzka, first viola
C. Rheasa, second viola

Series ticket price details, as per the New York Herald:
"One Admission to the Series, in advance......$6
One Admission to the Series, Professional, in advance......$4
Single Tickets for each Soiree......$1.50"

Performers and/or Works Performed

2)
aka Quintet, strings, no. 3, G minor
Composer(s): Mozart
3)
aka Kreutzer sonata
Composer(s): Beethoven
4)
aka Death and the maiden; Quartet, strings, no. 14, D minor ; Tod und das Mädchen
Composer(s): Schubert

Citations

1)
Announcement: New-Yorker Staats-Zeitung und Herold, 09 December 1867, 8.
2)
Announcement: New-York Times, 23 December 1867, 5.

Incorrectly states that the concert is to take place on 12/28/67.

3)
Advertisement: New-Yorker Staats-Zeitung und Herold, 01 January 1868, 6.
4)
Announcement: New York Post, 03 January 1868.
5)
Announcement: New-York Daily Tribune, 03 January 1868, 4.
6)
Advertisement: New York Herald, 04 January 1868.
7)
Announcement: New-Yorker Staats-Zeitung und Herold, 04 January 1868, 8.
8)
Review: New-York Daily Tribune, 06 January 1868, 4.

“The first Soirée of Chamber Music, being the opening of the thirteenth season, was given at Irving Hall on Saturday evening. The artists were Mr. Theodore Thomas and Messrs. Mosenthal, Matzka, Rheasa, and Bergner. Mr. S. B. Mills presided at the piano. The entertainment embraced selections from Mozart, Beethoven, and Schubert, and the music may be characterized by a single word—good, which in this case is better than phrases of flowery criticism or limping lines of would-be mellifluous praise. The hall was just sufficiently filled to take away the disagreeable feeling of emptiness, and everybody seemed in the best of humor both with the musicians and themselves. A more delightful entertainment cannot well be imagined, and, while the music was thoroughly enjoyed the kind greetings of friends between the pieces semmed like sparkling interludes before the more elaborate performances. Nothing more unpleasant occurred than the occasional snapping of a violin string, but as everybody was in the best mood and determined to be pleased, even this was accepted as part of the programme, and nobody seemed to care whether it was adagio or allegretto.”

9)
Review: New-York Times, 07 January 1868, 4.

“The first soirée of Chamber Music took place at Irving Hall on Saturday evening. The term is ambiguous, but covering various varieties, means the old quartette party of Mason and Thomas, established thirteen years ago, and sustained with varying fortunes but true art zeal from then until now. Mr. Theodore Thomas is still the first violin; Mr. Mosenthal the second; Mr. Matzka the viola, and Mr. Bergner the violoncello. Mr. Wm. Mason, however, was not the pianist on this occasion. It has been found desirable to alternate the performances of this sterling artist with those of Mr. S. B. Mills—a gentleman whose classical tastes and attainments are very well known to the public. But Mr. Mason is still the regular man ‘at the pianoforte.’ There were three pieces on the programme. The first Mozart's Quintette in G minor; Beethoven's Sonata in A opus 47, (the Kreutzer Sonata,) and Schubert's Quartette in D minor. The latter is a posthumous work which must always interest the constantly growing number of the composer’s friends. Mozart's Quintette, differing in date and manner, served as a contrast and fail [sic], but its length and fashion are alike old. It seemed impossible, morevover, to keep the instruments in tune—owing to the humid condition of the atmosphere. Mr. Thomas broke a string in the Quintette, and again in the Sonata. In the first instance a good deal of delay took place, but in the second Mr. Thomas did not feel it incumbent upon him to retire. A violinist cannot control the weather, but he ought at all events to provide himself with strings. It is not in the slightest degree interesting to see the first violin walk out between the parts and return after a protracted delay with two fiddles instead of one. It is apt, indeed, to be misunderstood, and at all events indicates an oversight which ought not to occur in the presence of the public. The Quintette, owing perhaps to the causes we have mentioned, was played only moderately well. In this particular it differed from the Schubert Quartette which was superbly given. And this was especially and particularly the case with the Sonata—a grand and beautiful composition which was interpreted by Messrs. Mills and Thomas, with a thorough appreciation of its beauties and complete command of its difficulties. The last movement with its prodigious strength, clearness and rapidity could not have been played better. It is an easy matter to drag the time, and so bring everything down to a deal level of ordinary facility. But to seize the spirit and vigor of the composer, and flash them on the audience in a brilliant and comprehensive whole, is given to but few. This faculty was strikingly remarked in the performance of this piece. Mr. Mills played, as he always does, grandly, with superlative articulation, with clear round majesty of tone, and the dexterity which a perfect knowledge of the technical difficulties of the instrument insures. For the rest he is known to be the most conscientious of artists, and never plays in public without the most earnest recognition of the responsibility. He does not consider it necessary to play false notes, and in that respect is quite peculiar among pianists, with whom this eccentric habit seems to be somewhat in favor. Mr. Theodore Thomas played splendidly. The fire and energy of the performance, indeed, cannot be exaggerated. It was what might be expected from two young and earnest men who know what they proposed to do, and set about it faithfully.” 

10)
Review: Dwight's Journal of Music, 18 January 1868, 173.

“Musical Correspondence. New York, Jan. 6—The 1st of Mason and Thomas’s concerts of chamber music (for the present season) took place in Irving Hall on Saturday evening, Jan. 4. The artists were Theo. Thomas, 1st violin; Mosenthal, 2d; Matzka, 1st viola; C. Rheasa, 2d; F. Bergner, ‘cello; and S. B. Mills, piano. I subjoin the programme:--

Quintet, G minor, string…..Mozart.

Sonata, A, op. 47, piano and violin…..Beethoven

Quartet, D minor, string (posthumous)…..Schubert

Certainly an attractive array.  The Quintet was admirably played and is—it need scarcely be said—thoroughly beautiful. I may particularize the Adagio, which was played with muted strings and produced a fine effect. The sprightly Finale in G major has the genuine, fresh, living Mozartean inspiration.     

Mr. Mills made his first appearance in public, since his return from Europe, in the famous ‘Kreutzer’ Sonata. He was warmly greeted, and created a favorable impression by his performance of his portion of that work. There seemed at times, however, a little want of clearness and crispness in certain passages in the first movement, as also (less noticeably) in the Finale. I have heard this Sonata played by Arabella Goddard and Joachim, and her performance seemed nigh perfect. 

Mr. Thomas played superbly. We have gradually become so accustomed to that gentleman’s preeminence in anything which he undertakes, that we sometimes overlook the fact that he is one of our finest violinsts. His performance did not compare unfavorably with that of Joachim in the same Sonata; he deserves the greater credit for acquitting himself so well, because, just in the middle of the first movement, one of his violin strings snapped, and an interruption and delay of some minutes was thereby occasioned.  Such an accident is of course most annoying and provoking to an artist. Mr. T.’s ease and insouciance of manner were enviable. 

The Schubert Quartet was given with much élan. The most interesting movements are the Andante (‘Song of Death’) and the Finale; the latter is the quaintest, most fanciful and most fascinating thing which one can imagine; it seems a wild elfin revel. To describe the Andante is simply to waste words; it cannot be described. It suggests—in some mysterious way—Browning’s ‘Prospice.’

The audience was not large—there were, perhaps, two hundred people present—and the hall was uncomfortably chilly. The concert was exceptionally long, owing to Mr. Thomas’s violin accident, and to the fact that the Soiree did not commence until quarter after eight. 

Great credit is due to these faithful and untiring artists for their earnest endeavors to advance the standard of Art in our city.”

11)
Review: New-Yorker Musik-Zeitung, February 1868, 28.

“New York . . . The soirees of Chamber Music were inaugurated on Saturday evening, the fourth of January, at Irving Hall. Of course we mean that there we met our old friends Mason and Thomas, who established these communions with true art, thirteen years ago, and have continued them unceasingly until now. Mr. Mason is the pianist, but on this evening, Mr. S. B. Mills was the performer on that instrument. The programme contained three pieces, Mozart’s Quintette in G minor, Beethoven’s Sonata in A, opus 47, and Schubert’s Quartette in D minor. These admirable compositions were interpreted by the artists in a manner that showed a thorough appreciation of the beauties which they contained, and a perfect command of the difficulties to contend with.”