Vocal and Instrumental Concert

“The two Misses Laemlein gave their first concert at Steinway’s last evening to an audience which, if not over large, was certainly very enthusiastic. The flower mania raged as usual, and in two instances masculine muscles were required to carry away the floral tributes.

“The concert was a success, and all the artists were desirous to do their best. The Misses Laemlein, who have decided merit as pianinsts, selected somewhat difficult music, and executed it with ability. The Rhapsodie Hungroise by Liszt was charmingly played by Miss Rebecca, and Fantasia upon Rigoletto, by Liszt also, did great credit to Miss Emma. These pieces test the executive ability of the players rather than [illeg.] audience. But artists are obliged [illeg.] to select such music for the [illeg.] of the art. The Misses Laemlein are [illeg.] and pleasing, and as they [illeg.] will become prominent in their profession. They were warmly applauded for all their [illeg.] and were kindly received by the audience.

“Miss Nully Pieris sang [illeg.] from [illeg.] very acceptably (?), and was greatly applauded.

“The ‘[illeg.]’ by Signor Lefranc was the gem of the evening. Feeling, taste and vocal power were beautifully embodied in his vocalization of the melody. There is no dryness [illeg.] in his singing; it issues spontaneously from a fountain of emotion, and seems to bear away both the singer and his audience. His aria from ‘Lucia’ was no less perfectly sung. [illeg.] of the composer thrills through the [illeg.] of a voice at once the rare production of nature and art.

“Signor Susini looking as in days of yore, who [illeg.] in the memory of [illeg.], sang in his inimitable way an aria from ‘Lucrezia’ with an undiminished splendor of voice. Such artists should never be removed from their [illeg.] in vocalization. The duo from [‘illeg.’] by Susini and Signor Reyna was also admirably sung. This air had the effect of a volcano [illeg.] was in tears, but now that she [illeg.] rests on its own merits and [illeg.] its gifted author.”

“STEINWAY HALL—THE LAEMLEIN SISTERS.—Two young and wonderfully clever pianists from California, named Rebecca and Emma Laemlein, made the début Tuesday before a New York audience, which, though not very large in numbers, was critical beyond the average standard of concert houses nowadays. They selected works which were calculated to test their ability in the most severe manner. Two duets (for two pianos), Gottschalk’s brilliant arrangement of the Tell overture, and Moschel’s elaborate work, ‘Homage to Handel,’ were rendered by the sisters with a degree of brio, expression and unanimity of thought thaty marked them as the renditions of true, genuine artists. Each played, besides, a solo—Miss Rebecca, Listz’s [sic] ‘Rhapsodie Hongroise,’ and Miss Emma, the ‘Rigoletto’ fantasie by the same composer. In both they acquitted themselves well and gave credit to the Pacific slope for favoring us with American artists of whom every musician may be proud. Nervous power and irresistible dash are their main charactreristics, and enough to make them favorites of the public everywhere. They were assisted by Miss Nully Pieris, who sang very badly, and Messrs. Le Franc, Susini and Reyna.”

“The Laemlein sisters, Emma and Rebecca, two young lady pianists from the Golden State, gave a concert at Steinway Hall, on Dec. 13^th, assisted by Miss Nullie Pieris, Signors Le Franc, Reyna, and Susini. The selections on the programme in which they displayed their musical ability were [see above]. Although their execution was not startlingly brilliant, still they displayed considerable ability, which was appreciated by a select but not very large audience. The ladies are young and pleasing, and will, no doubt, become, with more study, artistes of the leading rank and continue acceptable additions to our concert talent. The other artists sang selections familiar to concert room habitues, and succeeded in pleasing, especially Sig. Le Franc, who had to repeat each time.”