Philharmonic Society of New York Concert: 5th

“The next concert takes place on April 1, and the programme will be Fourth Symphony, Beethoven, symphonic poem ‘Tasso,’ Liszt, and Gade’s overture, ‘The Highlands.’ We thought the Society had enough of symphonic poems and Liszt in seasons past, but the crazy Abbe turns up again. If they would consult the true interests of music, the Philharmonic would consign Liszt, Wagner, Bargiel, Reinecke, et id omne genus, to some lunatic asylum, where they might be appreciated.”

“The Academy of Music was filled with the usual large Philharmonic audience, the majority of whom were attracted by the beautiful and talented young pianist, Marie Krebs. The programme was as follows [see above]. Miss Krebs was encored in the second piece and met with more luck than Miss Kellogg, for she was allowed to respond to the encore, the ‘rules’ of the society to the contrary notwithstanding.” 

“The Saturday night concert at the Academy of Music was really a concert given by Miss Krebs with the aid of an orchestra. The gifted young pianist was accorded far greater prominence than the Philharmonic Society is accustomed to allow to its solo performers; and was also permitted—against the ‘rules’ of the society—to respond to the demand for an encore.

She played a concerto in D minor by Rubinstein and a piano-forte arrangement of the scherzo movement in Mendelssohn’s ‘Midsummer Night’s Dream.’ In both she was entirely successful. Never before has she played with greater delicacy, taste and brilliancy. The entire surroundings seemed peculiarly suited to her style and temperament. She was a young queen of Teutons, surrounded by a Teutonic nationality; and there is no doubt that the German element and character are at home in the Philharmonic Society, and receive from its members warmer appreciation and more cordial support than is allowed to aliens or natives, however gifted or popular they may be.

The orchestra played, with excellent effect, Beethoven’s Fourth Symphony in D minor; Gade’s overture ‘In the Highlands,’ and Liszt’s symphony ‘Tasso.’ The attendance was large, and the entire concert eminently satisfactory.” 

“The fifth Philharmonic was given on Saturday evening. The only novelty presented was Rubinstein’s Fourth Concerto for piano and orchestra. Miss Krebs played the pianoforte part. We are glad to find the works of this admirable composer coming more and more to public attention. The present one is in the best vein. It is thoroughly poetic, romantic, and imaginative. The orchestral coloring is very fine, introducing a [illegible] and [never?] combinations of the instruments with responsive passages between orchestra and piano. It has all the freedom without the irregularities of much of the modern school. Miss Krebs played without notes, as usual, and with an [illegible] that commanded admiration. Of course it is conceded that no difficulty of execution is any obstacle to her. Rubinstein is himself one of the great pianists of his generation, and he writes, as is natural, music full of intricacies of execution. All of these lie completely under Miss Krebs’ hand. While she can hardly expect to progress in this direction, having so completely conquered [7 illegible words] to overcome certain elements of expression—the spiritual qualities of a work—and in this direction also her improvement is noticeable, and will with added experiences become richer.”

“The fifth Philharmonic concert of the season took place at the Academy of Music on Saturday evening. The programme was one of wider range than that of the fourth entertainment, though not conspicuous for variety or for novelty. Beethoven’s B flat major symphony No. 4 was the opening number, and was capitally played by the orchestra, under the direction of Mr. Bergmann. Rubinstein’s fourth concerto, in D minor, for piano, with orchestral accompaniment, was recited next, and for the first time, by Miss Marie Krebs. The fourth concerto is divided into three movements, and has no claims to originality, unless the tossing of the single notes from the strings to the brass in the third part is accounted striking. But it must be said that the degree of impressiveness of the work is not to be arrived at after its exposition by Miss Krebs. Possessed of a marvelous memory and of immense technical skill, Miss Krebs’ performances all show a deficiency of appreciation and imagination. Precision of execution and a clear definition of sounds are not sufficient for the proper expression of Rubinstein’s writings, and Miss Krebs has at her command no other means of display. She was also wanting in manual force on Saturday, and altogether we cannot speak highly of her reading. The second part of the bill began by Gade’s overture in D, ‘In the Highlands,’ which was splendidly delivered. Though Gade’s overtures are not equal to his exquisite symphonies, they combine a certain quantity of ideality with what might be termed intelligible note-painting, and ‘In the Highlands’ is fresh, varied and picturesque. Miss Krebs followed with an arrangement of the scherzo from ‘A Midsummer Night’s Dream,’ for piano. This famed number, written for orchestra, loses its effectiveness by the transfer; and the want of color of the pianist’s style gave it the air of an exercise for increasing her digital dexterity. Miss Krebs, however, has numerous admirers, and these recalled her and drew from her a supplementary contribution to the concert. The lady’s talent, ambition and youth ought certainly not to be disregarded. The final piece of the evening was Liszt’s symphony poem called ‘Tasso: Lamento e Trionfo.’ The composer’s own comment upon this work occupied one page of the hand-bills, and acquainted the audience with the fact that the thema of the poem is the tune to which the Venetian gondolier of the present day sings the first strophes of the poet’s ‘Jerusalem.’ The grand instrumental treatment of this motive—one full of ‘sighing sorrow and of monotonous coloring,’ to quote from Liszt himself—almost excuses the prolonged musical chaos out of which it springs.”

“The fifth concert of the season was given last Saturday evening before the usual fine audience, not even the hearty storm of that night interfering materially with the attendance. It will be seen from the following programme that the attractions offered by the Society were both strong and varied [see above].

We are tempted to call this one of the most enjoyable concerts, all things considered, of the present season. The performance was generally excellent—in several particulars unusually fine. In the difficult minuet of the symphony the rhythm was perhaps a little obscured now and then, as it is indeed very apt to be, but whatever slight defects a critical ear may have detected in the movement were amply atoned for by the elegance, precision, and spirit of other portions of the performance. The delicate allegro vivace and the soft and pensive second adagio were beautifully played. The execution of Gade’s overture was a clean and careful piece of work finely shaded, and at the same time firm and sure, though in the opening measures the harmony was a little overbalanced by a mistake of the second violins, which sang out a good open tone while the other strings were muted. The best work of the orchestra was bestowed upon the ‘Tasso,’ wherein there was ample opportunity for exhibiting the proficiency of individual performers, as well as the striking alternations of delicacy and force which Mr. Bergmann is so successful in obtaining from his band. The pensive Venetian melody, for instance, which in the first part gives the theme of this poem, was admirably rendered by Mr. Boehm on his bass clarionet, with harp obbligato, and by Mr. Bergner afterward on the violoncello; while the barbaric richness of the triumphant finale was represented with due majesty and splendor. A translation of Liszt’s own account of the work accompanied the programme.

The concerto of Rubinstein’s, which was played on this occasion for the first time in America, is of a tender and distinctly melodious character, poetical in its conception, and wrought up, in the second and third movements, to a superb climax. Judging it from a single hearing, we are inclined to think it somewhat deficient in logical construction, but of exquisite texture and magnificent coloring. The piano, which predominates rather more than usual over the orchestra, was most charmingly played by Miss Krebs, who seemed to be this evening in one of her happiest veins. With the brilliancy and fire in which she is unsurpassed she united a delicacy of touch and refinement of feeling altogether beyond criticism. In the Mendelssohn Scherzo she was, if possible, even more admirable than in the concerto. It is a composition of excessive difficulty; but its rapid passages, full-freighted with harmony, flowed like a sparkling torrent from her fingers. She was recalled after each piece. In the first part she gracefully excused herself from an encore, but in the second she gave Schumann’s ‘Warum’.”

“The only concert during the week was the fifth of the Philharmonic Society, which had the following attractive programme [see above].

Beethoven’s fourth Symphony was perfectly played by the orchestra. Gade’s overture is a very fine a picturesque work, but was not as well played as the Symphony.

Liszt’s ‘Tasso’ is an uncouth, uninteresting work, full of cymbals, tambouines, &c; and why it was placed on the programme is a mystery. Mr. Bergmann deserves great credit for placing it last; for at least one-third of the audience got up and left during the intermission, before the last piece.

Rubinstein’s work, though not an original, is a very interesting composition. There are three long and difficult movements. Miss Krebs played both pieces from memory. Her merits are a faultless execution and wonderful memory. Her playing of the Mendelssohn Scherzo was better than at the Concerto; but it loses its charm when taken from the orchestra. She was recalled, each time, the second time playing a piece by Schumann.

The audience was large as usual, notwithstanding the unpleasant state of the weather.”