Mason-Thomas Chamber Music Soirée: 3rd

Event Information

Venue(s):
Dodworth's Hall

Price: $1; $3 season ticket for remaining four Soirées; $5 2 season tickets for remaining four Soirées

Event Type:
Chamber (includes Solo)

Record Information

Status:
Published

Last Updated:
1 June 2011

Citations

1)
Advertisement: New York Herald, 18 January 1863, 7.
2)
Announcement: New York Herald, 09 February 1863.
3)
Announcement: New York Post, 09 February 1863.
4)
Announcement: Courrier des États-Unis, 09 February 1863, 1.
5)
Advertisement: New York Herald, 10 February 1863, 7.
6)
Advertisement: New-York Times, 10 February 1863, 7.
7)
Announcement: New-York Times, 10 February 1863, 8.
8)
Review: New York Post, 11 February 1863, 2.

“Messrs. Mason and Thomas gave the third of their soirees of chamber music last evening at Dodworth’s Hall. There was a large and fashionable attendance, including many musical critics and amateurs. [Lists program.] Mosenthal, Matzka and Berger rendered signal assistance in the artistic performance of their portions of the programme. Everything passed off admirably, and by some this soiree was considered the finest of the series. The superior tone of the piano used on the occasion was remarked, as well as Mr. Mason’s magnificent management of its keys.”

9)
Review: Musical Review and World, 14 February 1863, 39.

Lists program.  “The Grand Pianoforte is furnished by Messrs. Steinway & Sons.

            If any comparison of Cherubini can prove more than another, the universality of his genius, and the peculiarity of his position in the history of musical art, it is the set of quartets for stringed instruments he has left to the world. Not that he has given his best in these quartets—not that they can rank with the high specimens of this art, Beethoven, or even Mendelssohn and Schumann have given to the world, but they offer such an abnegation of the characteristics of the Italian composer, they are so thoroughly imbued with the German spirit, they display such thoroughly German workmanship of the best kind, that we believe we are justified in saying, they are unique in the literature of chamber music. The above quartet is less distinguished by riches of fancy, such as we meet, for instance, in Schumann’s music, (so well proved on the same night in the performance of his Quartet in A,) than by power and sternness. What we miss, is warmth, geniality, fire, and passion. Strange, the Italian is colder, than the by far more northern German. It seems almost, as if he was anxious, to go back in the history of his race, and to remain in the austere regions of the classic authors of his forefathers. How different his music sounded from that which followed! It was just as if the sun broke through the clouds, that had covered a grand Northern scene, and gave life and warmth to it. The Trio by Beethoven, op. 70, No. 1, is perhaps, with exception of the one in C minor, and the one in B, the most interesting of the whole set. Especially is the Largo apt to occupy the mind of the musician. We wish all our modern composers of trios, who are so fond of using tremolo­-effects, would study this movement. The soiree was concluded by the performance of Schumann’s Quartett [sic], No. 3. The work has been played twice before, and again did not fail, to show the artistic power of its author.”

10)
Announcement: Dwight's Journal of Music, 14 February 1863, 364.
List of performers on each piece.
11)
Review: New-York Times, 16 February 1863, 8.

“Messrs. Mason and Thomas gave their third soirée of classical music at Dodworth’s Hall on Tuesday evening last, the programme opening with a very interesting and remarkable Quartette, (C major, No. 2,) by Cherubini—a composer who has written successfully in every style, and so escaped the cheap reproach of being too Italian. It is, like all the master’s efforts, somewhat elaborate and heavy, but was charmingly played. Beethoven’s piano-forte Trio in D major (opus 70, No. 1) followed—a superb work, that reflects the genius of the composer in every bar. The soirée—a successful one in all respects—was brought to an end by the performance of Schumann’s Quartette in A major, (opus 40, No. 3,) a work that is now familiar to the patrons of these entertainments.”

12)
Review: New-York Daily Tribune, 16 February 1863, 8.

“We have a most unmusical, most melancholy, account of the week to record…The only concert was the regular procedure of Messrs. Mason and Thomas, who give pure music. Pure music: that is, music devoid of admixture with anything else – not even with great resonance – dependent solely on the sequences of the notes; or melody; on the simultaneous utterance of the notes, or harmony; and on the form of the pieces, which is rhetoric. This species of music is, of course, less difficult to write – imagining that anything is difficult to him who has the hand and the brain therefore – because it is not hampered with words, metres, vocal accents, respirations, stage-business, and the curtness or progress of the scene. But it is pure high music, nevertheless; and as it is studied and appreciated, will Music rise in estimation as a first-class intellectual science; along with Astronomy, or Chemistry, or the science of growing rich? Among the exhumations by Messrs. Mason & Thomas was a bowed or string quartet by the great Italian master Cherubini—who flourished at Paris before and during Napoleon’s time. He is learned—very—and also not heaven-gifted with melody or passion. The Emperor did not like his learned music; and quoted to him as a preference the melodious Pasiello:—Cherubini replied that his Majesty was a judge of artillery—he of music:—and Cherubini thereafter was not imperial favor.

            We earnestly recommend to conscientious students of music to attend the regular season soirées of Messrs. Mason & Thomas.”

13)
Review: Dwight's Journal of Music, 21 February 1863, 376.

“The third soirée of Messrs. Mason and Thomas took place Feb. 10th, at Dodworth’s Hall. [Gives program.] The Cherubini quartet did not much please us; it is certainly not the creation of a master who must write whether he will or not, but rather the made work of the clever musician who writes, at his own leisure, a self-appointed task. But, after its own coldly brilliant fashion, the quartet is in parts very effective. The Beethoven Trio placed us at once in another world,—but better than anything we can say, will some extracts from Marx’s admirable analysis describe it [All ellipses in the following quotation are included in the article]: ‘This first Trio, in D Major, is certainly free from personal references, and, while it gives settled ideas of life, those ideas are fast rooted in the life of the tone-world. The spirit does not dream amid tones,—it has built itself a body out of tones. Here is the realization of that spiritual vitality, which leaves behind it, on one side the phantasms of a wandering spirit, and, on the other, the prose of materiality and form-play. . . . .  Throughout the first movement, the instruments are widely apart; the piano, the fantasy instrument, often at the distance of two octaves, and the string instruments between. This first movement, Allegro Vivace e con brio, is no open struggle, even with destiny, (Beethoven never returns to what is gone by), and, above all, no deed of day, [sic] It is a strong forward pressure, a dark undertaking, that cannot resolve itself in light and yet that will not cease. It reminds us of the old Magna volvit in animo, (He revolves great resolutions in his soul). . . .  And now comes the second part, Largo assai ed espressivo. It has won for the whole work the title of ‘the bat trio’ among musicians, for in the Largo one’s own soul is overswept by mysterious wings. . . . .  Here, from the first ensemble of the string instruments with the piano, (where we are reminded of the thoughtful motive of the first movement), for those who have eyes to see, the kingdom of night is opened,—il regno di pianto eterno,—shaken by unexpected thunders, filled with long-trembling sobs. It is a long passage through a pathless darkness. . . . .  The third movement, the Presto in D Major, has manned itself for life again. But, after such night, that does not come out at once; twice the theme breaks off doubtfully, once on the dominant of B minor, as if dissatisfied, and then closing on the dominant chord, which does not satisfy either. Then the broken quavers of the first movement return, but filled with fresher courage; a higher strength is gained. This time the under-world could not hold fast its prey, and, with the concluding subject, which is again in accord with the E major subject of the first Allegro, looks boldly out into life once more.’—The Schumann quartet we can never hear too often.”