Mason-Thomas Chamber Music Soirée: 6th

 Time, performers.  “[C]ertain to be one of the most enjoyable events of the musical season.”

“Kreissman will sing the ‘Dichterliebe,’ Opus 48, by Schumann, and several songs by Robt. Franz.”

Kreissman, a tenor very favorably known in Boston and other cities . . . will sing several songs from Schumann and Robert Franz.”

“The programme is a varied and most attractive one.”

“The final concert of Mason and Thomas’s present series was given last evening at Dodworth’s Hall, and was attended by a crowded audience. The programme was of an unusually pleasing character, instrumentally, and the introduction of Mr. Kreissmann, in German songs, added essentially to the pleasure of the evening. Mr. Kreissmann’s tenor is of a beautifully delicate quality, while his manner is vigorous and his style of delivery dramatic. He was repeatedly encored, and may well be congratulated on the success he obtained at his first appearance in the city. Of the instrumental portions of the concert it is unnecessary to speak at length, but especial reference should be made to the fine rendering of the Haydn adagio and the Beethoven quartette.”

[The review is not completely understandable; the typesetter garbled lines and they are not always in consecutive order.]

            [Lists program and performers.] 

            “If anything can be considered a proof of the vaste [sic] progress, musical art has made in New York, it is the fact, that the above programme could attract such a large audience to Dodworth’s Hall, that scarcely a standing place could be had. But more than this, all these people seemed to thouroughly [sic] enjoy the music, which, we need hardly add, was of the highest order. Even that wonderful poem which Beethoven wrote but a few months before his death (in summer 1826) the Quartett in C sharp minor, was by far more understood and relished, than we expected it would be. But it must be confessed, that the artists fully contribute their share to this satisfactory result. The individuality of each part was well brought to light, every instrument told its tale of sorrows and joys with truth and fervor, and thus the details of the polyphonic masterwork could be more easily overlooked and appreciated. We for…at least must say, that this Quartet never appeared to us…and intelligible, and consequently so beautiful, as on…

            …by Bach for two pianos, well played by Messrs. Mason…in the quick tempo a little too hurried, was a worthy…the music of those, who in their lifes [sic] as well as in their…his faithful admirers and enthusiastic followers. We . . . especially Schumann and Robert Franz. We are sorry, [that] going to press does not allow us, to speak at length about [the] merits of these two composers of songs. Mr. Kreissmann [gave] the public at large a splendid opportunity to judge of . . . prominent men, and we must say, he did it in such a way . . . one person can have left the hall without being convinced…poetic and artistic resources which were and are at the . . . Schumann and Franz. Mr. Kreissmann sang with true…a neat manner, and if he had only given us the whole . . . comprised in the general title ‘Poet’s Love’ (composed . . . most of his songs were brought to light in the happiest… love and life), he would have done still more complete his . . . work.”

“Messrs. Mason and Thomas gave their last soirée on Thursday evening, April 21st; the programme (which attracted an over-crowded audience) commenced with Bach’s concerto for two pianos and string quartet, in which Mr. Timm assisted the usual executive firm. Perhaps more fire, more light and shade in the performances would have been an improvement, for Bach is the last composer to be put off with ever so fine a merely mechanical execution. The old quartet of Haydn, on the hymn ‘God preserve the Emperor Francis’ was given, and the concert fitly concluded with Beethoven’s immense quartet in C sharp minor, No. 14, one of his latest and greatest. A novelty was the singing of Mr. Kreissmann—intelligent and agreeable, if not faultless; but it will not do to be hypercritical as to his singing, for we were only too glad to hear the songs he gave us. Why cannot such be heard oftener, at these, and similar concerts? Why do the orchestra concert directors disdain the fine voices, as such, forgetful that even in musical sound, ‘a thing of beauty is a joy forever,’ and why will not fine singers give us fine songs? Is ‘no comprimise’ the motto of these belligerent powers? The songs selected by Mr. Kreissmann, were some of Franz, and a portion of that series by Schumann ‘Dichterliche [sic].’ This hearing of Franz and Schumann recalled a comparison we have often made. Franz is the great talent; perfected and, in a certain measure, made; Schumann is the genius; God annointed. Even in their different treatment of Heine’s lyric ‘Im wanderschöuan [sic] Monat Mai’ (Mr. Kreissman sang each) we see this; one is a thought; the other an inspiration. Looking back to our old musical impressions we remember how Franz has touched us with quick pleasure, haunting melancholy, a sense of wonder, as at something odd and mediæval, tempered with regret for a musician that has increased in his last works; but has not Schumann thrilled us from the first, in spite of his great faults, with that astonishment, that painful joy, which is only awakened by works of the first order of genius, such as, in lyric poetry; Shelley’s ‘Sky-lark’, in painting the Cartoons of Raphael, or York Minster in architecture? (And seen by moonlight, as we first saw that Cathedral, it is a Symphony in stone). And yet, all honor to the living song writer, the sincere disciple of Bach!”