Pianoforte Soirée

“There was nothing dull or gloomy in this selection, none of the music of the future, no algebraic music, no expression of sorrow, or of a tortured mind, or of a deep emotion. It was a sunny, pleasant, and [cheerful?] programme, commencing with the serenest and brightest of Mendelssohn’s three trios, and ending with Gottschalk’s story of the Knight and his [illegible] and his bit of negroism—for banjo.

 

Mr. Hoffman has a great affinity for Stephen Heller’s music. His name not only appeared twice on the programme, but, in answer to a recall, Mr. Hoffman [illegible] of the lovliest of that cluster of [illegible] as the ‘Wanders[lieder?]’ [illegible] Heller’s music though German in form, [illegible] and quaintness that [illegible] to his Hungarian nativity. He has [illegible] with nature that was a part of [illegible] and many of his pieces [illegible] the whole series entitled [illegible] of which Mr. Hoffman played, [illegible] ‘The Flower Fruit and [illegigle] Pastorales and Hunting [illegible] conspicuous a feature of his [illegible] an appreciative an interpreter [illegible] have desired.

 

Mr. Hoffman modestly appears but once upon the programme as composer, but in that instance it is to [illegible]. His brilliant ‘Tarantella,’ not yet [published?], was well worthy to be heard in connection with Heller’s ‘Im Walde.’ It has all the qualities of dash, spirit, and eccentric movement [illegible] with a fascinating dance.

 

Mr. Berge and Mr. Bergner, two artists most [illegible] in the performance of chamber music, assisted Mr. Hoffman at the concerts.”