Marie Krebs Pianoforte Recital: 3rd

“This talented young pianiste drew another very select audience at Steinway’s Saturday afternoon. On this occasion she was assisted by Wenzel Kopta, violinist; Louis Dachauer, pianist, and William Candidus, tenor. The progamme was even more varied than its predecessors, as may be seen from its numbers [lists program].

 

Each hearing makes one admire Miss Kreb’s talent and artistic sympathy more and more. One would hardly look for such signs of deep study, high appreciation of the works she essays and thorough ‘at-homeness’ in everything in one of her years. Then her memory is marvelous, and enables her to dispense with the written music at her interesting recitals. When time and experience bring her to those qualities which she lacks at present in her interpretation of Beethoven and Chopin it will be difficult to find her superior among artists. Her technique is faultless and her touch mobile and crisp. Repose of style, more breadth, clear and distinct phrasing and nicety of expression will make her peerless in her art.”

“Miss Krebs had for her third matinée recital last Saturday the best audience that has attended any of the series. It was composed almost exclusively of musicians and accomplished connoisseurs; and it speaks well for the talent this young lady is exciting in art circles that such a severely critical class of listeners should be [illegible] attracted to her entertainments. The following was her programme [lists program].

 

In addition to [illegible] Kopta played Vieuxtemps’ ‘Air and Gavotte,’ and Mr. Candidus gave two of Schubert’s songs—the Trockne Blumen and Die bose Tarbe.

 

The Raff sonata is entirely new in this country and we understand has never before been played in public anywhere. It is in one movement with a [illegible] and melodious theme charmingly elaborated in a rather grave style, full of feeling, and very clear in thought. Both players did it full justice. The fugue of Handel’s, we need hardly say, was given with delightful spirit and a firm, sure hand; for Miss Krebs, as we have many a time had occasion to remark, is a rare artist for a fugue, and dashes off octaves with perfect facility where most pianists would be puzzled to play single notes. The contrast between the stately composition and the pretty little lied of Seeding’s, which followed it, was perhaps rather too strong; but in truth to find fault with any part of her programme would be mere hyper[illeg.]. Her versatility was probably best shown in Schumann’s ‘Carnival,’ where she must run through nearly half a score of broken movements, differing widely in expression, but all connected by an identity of spirit. It enabled us to compare her proficiency in the lighter graces and more subtle perceptions of her art with that of eminent performers who have but recently done the same work in New-York; and how well her [illegible] were satisfied with the results was abundantly testified by the applause and exclamations which greeted her at the close. We do not think it was her best performance by any means; but it was unquestionably a good one.”