Mason-Thomas Chamber Music Soirée: 2nd

Includes program.

“The second soirée of Chamber music (Messrs. Mason & Thomas) took place at Irving Hall on Saturday evening. There were three pieces on the programme, all of which were excellently interpreted. The first was Volkmann’s Quartette in A minor, opus 9, a work of considerable gravity and somewhat curious in construction. The conversational characteristic of the Quartette, as a composition, is laid aside, and a series of little ensembles with calumniations of various sorts are substituted. The effect is sometime good, but it is sought with too obvious a purpose. The themes buzz in your ear like a fly ‘in the pane,’ and are not much more melodious. Schubert’s piano Trio in B flat, opus 30, was very finely played. Mr. William Mason being at the piano. We have spoken of the work on other occasions, and need only say that it is one of the most agreeable trios in existence. The programme terminated with the E minor Quartette (No. 3) by Beethoven.”

“New York, Jan. 20.—On Saturday evening, Jan. 18th, at Irving Hall, occurred the second of Mason and Thomas’s soirées of chamber music. Mr. Mason was the pianist and will alternate, during the season, with Mr. Mills at these concerts. The audience was about as large as on the former occasion and we had the appended programme.—

Quartet, A-minor, Op. 9…..Volkmann

Trio, (P. F.) Op. 99, B flat…..Schubert

Quartet, E-minor, Op. 59, No. 2…..Beethoven

Of the Volkmann Quartet it may be remarked that one ought to hear it—or any other new work—several times before giving a decided and absolute opinion; but it is safe to say that this Quartet seems to lack unity and force and is of unequal merit. For instance the third movement, an extremely neat Presto with a beautiful quaint Trio, has nothing in common with the other movements; it would appear that no sustained purpose underlines the whole.

The Schubert Trio is too well known to musicians to need many words: the Andante—practically a ‘song without words’—taken firstly as a solo by the ‘cello with piano accompaniment, is calculated to delight even those whose appreciation of advanced art is very small. It seemed the essence of melody.  Mr. Mason played the piano in his usual polished, refined and gentlemanly style; but, why will he not give us a little more fire and passion?  That is just the one thing needful to make his playing very enjoyable. 

The effect of the Beethoven Quartet, as well as that of the other pieces, was somewhat marred by the fact that the cello was not in accord with the other instruments; this was, of course, painful.

Why would it not be well for Messrs. M. and R. to adopt analytical programmes?  At the Monday Popular Concerts and at the Matinees of the Musical Union (London), pamphlet programmes are gotten up containing—often—a short sketch of the composer of each work performed, and also short excerpts from the work itself; these little books are very attractive and interesting and find a ready sale—at the concerts I have mentioned—from two reasons; firstly because of their intrinsic excellence, and secondly because one can get no other programme: they are occasionally too voluminous:—I have one in which there are some twenty pages devoted to Beethoven’s Sonata, Op. 106, and to Madame Arabella Goddard’s performance of the same.”