Philharmonic Society of New York Concert: 4th

“The announcement of the appearance of the representative prima donna of America, Miss Clara Louise Kellogg, at the fourth Philharmonic concert, drew to the Academy of Music the most brilliant elegant and crowded audience of the entire season. Whether in opera or concert this accomplished young artiste is ever the favorite of the public, and her beautiful clear, sympathetic and thrilling voice and high cultivation in everything that relates to music, never fail to produce an effect such as few prime donne on either side of the Atlantic at present can obtain. She was in fine voice last evening and sang a scena and aria, by Rubinstein, called ‘E Dunque Ver?’ (the first time, we believe, in this country) and the magnificent cavatina ‘Bel Raggio’ from Rossini’s ‘Semiramide.’ Rubinstein’s work in construction, and especially in orchestral accompaniment, is exceedingly clever and worthy of attention; but its melody is by no means interesting, and a cold, severe character pervades it. It is very difficult and very trying on a singer, but much of its difficulty was veiled in the ease and thorough ‘at homeness’ which Miss Kellogg brings to every work she essays. This is one of her most admirable characteristics. She impresses the hearer with unbounded confidence in her ability to execute faithfully everything she sings, and there is an entire absence of the painful effort which mars some of the best attempts of many other vocalists. But in Rossini’s florid and melodious music she produced an effect which rarely falls to the lot of a cantatrice at the Academy. Every note of those ornate passages was sharp and well-defined, and her marvellous execution was never displayed to better advantage. Besides this, she infused into the cavatina a warmth and fervor peculiarly her own. A thundering encore, lasting some minutes, was the consequence. She did not respond to the encore otherwise than by bowing her acknowledgments. The reason was as follows:

The directors of the Philharmonic Society positively refused to accommodate her with a piano as accompaniment, for some extraordinary reason known only to themselves. There was a piano on the stage of the Academy at the time, and an able accompanist, Mr. Colby, in readiness. But the directors would not allow Miss Kellogg to respond to the encore unless she sang again with the orchestra. Now, any musician knows that it is too much for a singer to attempt, after a trying aria with orchestral accompaniment, to sing again immediately with orchestra. We remember that when Mme. Gazzaniga, Mme. de Lagrange and other vocalists sang at the Philharmonic concerts and were encored they were accommodated with a piano and accompanist. The action of the Philharmonic Society last night, therefore, can only be regarded as an insult to an estimable young artiste and to the public who vociferously demanded the encore. This encore was such an emphatic, enthusiastic and flattering kind that it is but simple justice to Miss Kellogg to make the above explanation to exonerate her from any blame or want of appreciation of the high compliment paid her.

The orchestral programme, as usual, consisted of only three works [see above]. The symphony is a grand work and will ever be heard with pleasure. It represents the best thoughts of Schumann and is worked up in masterly style. Neither of the overtures was worth a place on the programme. ‘Medea’ is dull gloomy and monotonous, without a particle of power or grandeur to compensate for its colorless character. ‘Aladdin’ is almost incomprehensible in its labored, severe style, and there is hardly the semblance of a connected idea in it.”

“After having given two concerts without vocal aid the Philharmonic Society has reverted to the usual system, and at the concert on Saturday night presented Miss Kellogg before a very large audience. She was in excellent voice, was charmingly dressed and most cordially received. She sang a very curious and original composition by Rubenstein, set to Italian words, and that exquisite melody, Bel Raggio, from Rossini’s ‘Semiramide,’ meeting with special success in the latter. The audience was delighted and thrice called the fair vocalist to the footlights, insisting on an encore. We understand that, anticipating such a probability, Miss Kellogg had provided a piano-forte and an accompanist, and intended to sing a little German song; but the directors of the Philharmonic insisted on enforcing the rule of the concerts which prohibits encores, and refused to allow the piano-forte to be brought to the front of the stage. This would be well enough if the anti-encore rule had been enforced at previous concerts; but the sudden rigidity manifested in the present instance has given rise to much comment.

The orchestral pieces last night were [see above]. They were all well played, but failed to elicit any warm applause.”

“The Philharmonic Society’s fourth concert was given on Saturday evening at the Academy. It was noticeable in containing upon the programme only music of the most modern school, and yet not of that chaotic kind that the ultra moderns delight in. There was a superb Schumann symphony, a work of great unity and integrity of thought, not desultory nor [illegible] as some of Schumann’s music unfortunately is, but clear in form and exquisite in treatment, the middle voices or parts skillfully and independently worked out, the counter themes as well expressed as the leading ones. The symphony in parts was played in a slovenly manner for the Society. At times whole phrases were blurred by inequalities of time between the different parts of the orchestra, the horns being especially at fault. The other instrumental works were overtures by Bargiel and Reinecke, both composers of ability of the second order. Miss Kellogg sang a magnificent dramatic scena and aria by Rubinstein, large and broad in treatment, and full of tender expression. She sang it well within the limitations of her voice, which is unequal to a work of such culture. It was surprising with what perfect indifference, not to say coldness, this lady was received. Her entrance was made in chilling silence, and her exit with scarcely a hand raised in applause. In the second part of the programme Miss Kellogg sang Rossini’s ‘Bel Raggio,’ and sang it with admirable taste and skill. An endeavor was made to give her a recall, but this was met by counter demonstrations and for nearly ten minutes the Montagues and Capulets fought it out while Bergmann stood quietly among his orchestra with an expression on his face that clearly denoted that he thought his audience was acting a foolish and childish part, and that he was willing that they should indulge their folly to the utmost. Not till the last tongue had hissed and the last hand had clapped did he condescend to take up the baton. Miss Kellogg is an artist deserving of a more gracious reception than this, whatever the reason that may underlie the demonstration.”

“The Philharmonic Society gave the fourth concert of this season’s series, and the one hundred and thirty-first since its formation, at the Academy of Music, on Saturday evening. With an art-record extending over so long a period it is somewhat surprising that a reproach as to the preparation of a programme should be called for. So far as the catholicity of the bill was concerned it was the least creditable of the season. Schumann contributed his third symphony in E flat major, Bargiel the overture to ‘Medea,’ and Reinecke his preface to ‘Aladdin.’ What is called intellectual music was certainly well represented. There would have been less complaint had it not crowded more easily appreciable and more widely-appreciated works out of the frame of the night’s entertainment. Exception made in favor of the scherzo of the symphony, there is no one of the four remaining movements of that very elaborate work notable either for originality of theme or for vigor of treatment. The overture to ‘Medea’ had been listened to previously without sufficient delight, we imagine, to have suggested its repetition. The introduction to ‘Aladdin’ contains some clever details of instrumentation, but it is as poor as the one which all but preceded it. It is a fortunate thing that an execution of all programmes, replete with accuracy, taste and finish, compels admiration when expended upon even unworthy subject-matter. So unvaried and generally unimpressive selection of pieces would else be reproved before half the evening’s task were done. A great relief to the monochromatic instrumental performance was afforded by greeting Miss Clara Louise Kellogg, and applauding liberally her delivery of a scena and aria, ‘E dunque ver,’ by Rubinstein, and enthusiastically her interpretation of the cavatina, ‘Bel Raggio.’ We are not prepared to say that the very accomplished and popular artist we have named gave Rubinstein’s composition, which is modeled after Beethoven’s ‘Ah Perfido,’ and is reminiscent in its form, also, of a kindred piece by Mendelssohn, quite the breadth and weight it ought to have had. But we cannot easily overlaud the faultlessness and the facility with which she sang the excerpt from ‘Semiramide.’ A more correct and, so to speak, more captivating recital of that piece, so rarely sung without a flaw, the audience at the Academy need not expect to enjoy. A demand for a repeat followed, and its expression was kept up with an unanimity and a perseverance which the perfection of the foregoing rendering fully warranted. But we learn that, for reasons unknown, opposition was manifested to a response in shape of an air with piano accompaniment, and Miss Kellogg was unable to acknowledge with her wonted grace a well-deserved compliment. Many of the ways of the Philharmonic Society are extremely mysterious, only it is to be regretted that they do not always result in wonders.” 

“Whatever the weather and whatever [illegible] the audiences of the Philharmonic Society are [totally?] unchanging. The boxes are always in a [illegible] and ribbons, the parquet and balcony filled with quieter connoisseurs, and up in the amphitheatre the scientific enthusiasts whom discomfort [illegible] terrify. The fourth concert of the season took place [with?] the usual gratifying result on Saturday evening. The following was the programme [see above].

Although only one of these selections (the [illegible]) absolutely new to this city, none were very familiar, except, of course, ‘Bel raggio’ and the [illegible] the programme was far more than ordinarily [illegible]. Schumann’s Third Symphony, commonly called the Cologne Symphony, is a work of wonderful [illegible], and variety, solemn in its general character, relieved in two of the movements by touches [illegible] is almost playful. Though it by no means belongs [illegible] bastard order of composition known as  [illegible] music,’ it is so clearly suggestive that we can fancy it to be, as many critics have supposed, a musical panorama of the Rhine. In the full [illegible] and broad sweeping measure of the allegro, it is not difficult to imagine the composer had in his mind the majestic [illegible] of flowing waters, nor is it stretching ingenuity to discover in the scherzo the songs of the peasant the simple merriment of rustic life. The [illegible] exquisite piece of tender melody, where [illegible] by full harmonies of the strings. The fourth [movement?] was described on the programme last Saturday as an allegro. This was probably a misprint for [adagio?] evidently an inspiration drawn from the [illegible] cathedral chant, grand with the voice of praise and [illegible], and broken now and again by the [illegible] response. In the German this movement is [illegible] the partition Feierlich, (solemn), the best translation which would probably be ‘religioso.’ The [illegible] closes with a charming presto; but neither [illegible] scherzo was performed with the neatness and [illegible] which we expect from Mr. Bergmann’s orchestra. [illegible] was a curious scrambling of the violins, and certainly in the tempo, which we did not perceive [illegible] on the previous day; and although the [illegible] upon the whole enjoyable, and in [illegible] and fourth movements good, it was not an [illegible] upon which the Society can fairly pride itself. [illegible] effective overture went much better. It is a [illegible] of strong but not extravagant writing, [illegible] thought, rich in instrumentation, and more [illegible] rhythmical in its construction than most of the [illegible] of the modern orchestral school. It was [a mistake?] to place Reinecke’s ‘Aladdin’ just after it. [illegible] effect the latter work might have had under [illegible] circumstances we hesitate to conjecture; [illegible] none in this position. It resembles the [illegible] closely in spirit, and is too evidently inferior [illegible] and in scoring.

Miss Kellogg was most liberally applauded [illegible] florid Rosina cavatina, which she sang with a [piano?] accompaniment. It was an excellent exhibition of dexterity, and deserved all the praise it received [illegible] we were much more deeply interested in her [illegible], the splendid scena and aria of Rubinstein had never been sung in New York but once before and that was three years ago, when Madame Parepa-Rosa introduced it at one of Theodore Thomas’s Symphony Soirées. It is greatly to the credit of our young [illegible] woman that she should have selected a piece so [illegible] well suited to a Philharmonic programme, [illegible] which success could only be obtained at the cost [illegible] labor, for it is a composition of great difficulty, [illegible] with a recitative, comparatively [illegible] style, and then follows a beautiful [illegible] andante melody. Miss Kellogg delivered the recitative with great sweetness and feeling and gave to the aria a degree of pathos and delicacy which we cannot too warmly praise. The very best quality of voice and the intelligence which she is capable of [illegible] to the interpretation of musical works were conspicuously manifested. The piece closes with a passionate dramatic outburst, and for this Miss Kellogg has not the physical qualifications. Her delicate [illegible] overpowered by the heavy score of the orchestral accompaniment, and was ill-adapted to declamation of passages which need a voice of great majesty and [illegible] and a broad and dignified style. With this [illegible] we can heartily commend her execution of ‘E dunque vert’ as the most creditable thing she has done in a long while, and we thank her for doing it.”

Article in support of the Philharmonic’s policy against allowing encores and the policy as enforced with regard to the encore Clara Louis Kellogg had expected to perform at this concert. Support for the new policy of no longer reserving seats for journalists.