Concert

“The first concert of Miss Mehlig since her return from Europe was given last evening at Steinway Hall. About a thousand lovers of music were present, among them an extraordinary proportion of persons known to be critical in their knowledge and taste in this direction. The audience was, therefore, thoroughly appreciative, and though it seemed at first rather coldly watchful, yet it was gradually warmed by listening to the treat offered to it, until, long before the end, it became one of the most enthusiastic gatherings of the winter.

Miss Mehlig’s first selection was Schubert’s ‘Fantasie in C major, Opus 15,’ one of the most difficult pieces ever heard in the concert-room and almost new here. She afterwards gave Chopin’s ‘Ballade in A flat;’ Taussig’s arrangement of Weber’s ‘Invitation to Dance,’ a beautiful little nocturne as an encore, and, finally, Liszt’s transcription from ‘Don Giovanni.’ The variety of excellence which Miss Mehlig showed in rendering these strangely different selections was in no respect less than the variety of character in the music. Unapproached in the uniform and sustained vigor of her execution, where vigor is called for, she has no superior in tenderness and delicacy of expression. We cannot easily name another player whose excellence seems to be so entirely irrespective of personal characteristics, and to approach so equally in all directions the limits of the art and of the instrument.

The assistance rendered by Miss Sterling, Mr. Bergner and Mr. Wenzel Kopta was in all respects worthy of these artists, and was heartily acceptable to the audience. We trust that Miss Mehlig will continue these concerts until all who have culture enough to enjoy them shall find out how very enjoyable they are.”

“Miss Anna Mehlig gave her first concert since her return from Europe at Steinway Hall last evening. Finished as were the lady’s performances in the past, her work, yesterday, disclosed an increase of excellence. With more vigor, and a more discreet management of the forte pedal, the too frequent recourse to which now robs the fanciful harmonic tissues of much of their intended clearness, her playing would be perfect. Miss Mehlig’s crescendos and dimuendos are admirable; her runs are unsurpassable in respect of rapidity, definition, and legato quality, and her powers to make the instrument sing under her fingers is almost as conspicuous as the celerity and clearness of her scale-passages. In thoughtfulness and eloquence of delivery an equal amelioration is noticeable. It is not too much to say that Miss Mehlig is now as far in advance of the accomplished artist applauded last year, as she was at that period above her rivals. There could be no doubt that last night’s audience, fit but few, appreciated the progress of the performer. Everything was encored, and after a fashion much more significant of the desire of the public to prolong its enjoyment than can be traced in many calls. Miss Mehlig rendered Schubert’s difficult and thankless fantasia in C minor, opus 15; Chopin’s delicious ballad in A flat, recited with a degree of sentiment and a variety of shading that could not be overpraised; an elaborate but not too ornate transcription by Taussig of Weber’s ‘Invitation à la Valse,’ and Liszt’s trying arrangement of themes from ‘Don Juan.’ She had the aid of Miss Antoinette Sterling, who is quite right to avoid the brilliant music to which the sombre quality of her voice is not suited, but who should select less gloomy songs than she usually interprets; of Mr. Wenzel Kopta, a young and promising violinist, who played Vieuxtemps’s ‘Gavotte’ very neatly, but Ernst’s variations on Hungarian airs with less surety in stopping than he habitually displays; and of Mr. Bergner, whose solo on the violoncello was faultless in mechanism, but would have been more satisfying but for the tone of the instrument.”

“Miss Mehlig gave, last evening, at Steinway Hall, her first concert in New-York since her return from Europe. It speaks well for the appreciation of the best piano forte playing in this country that such performers as Miss Mehlig should be reluctant to leave us and quick to return.

The programme presented three new pieces, Schubert’s fantasie in C major, Tausig’s arrangement of von Weber’s Invitation to the Dance, and Liszt’s fantasie, on themes from Don Giovanni. The Schubert fantasie is a work that reveals its author in the highest exercise of his powers as a piano forte composer. It shows the fertility of his thought, the exuberance of his imagination, the clearness and beauty of his melody, and his great technical skill in the treatment of his themes. The andante is based on the most popular of his songs—the Wanderer; although one of Schubert’s earliest lieder, it is certainly one of the finest, and it is scarcely a matter of surprise that he should have returned to the lovely theme, and made it a subject for piano-forte treatment. The genius that suggested the melody has given to it in this fantasie a new beauty. In the presto Schubert gave rein to his highest skill, working out the finale in fugue, and with the highest elaboration that the piano-forte school of his day permitted. The composition received from Miss Mehlig a fine interpretation. If any one art more than another the hand of iron in the glove of velvet is needed, it is in that of piano-forte playing. And Miss Melig possesses both. Her touch is strong as steel, and yet subdued, as in the Chopin Ballade and the Nocturne that she subsequently played, to feminine tenderness and exceeding delicacy. Tausig’s arrangement of the von Weber Invitation is a composition of elaborate skill. The familiar theme is set forth in almost orchestral richness of color, variety of form, and harmonic ingenuity.

“Miss Mehlig eclipsed herself on the occasion of her last concert, and actually revealed a degree of progress since her visit to Europe. She has toned down some of that exuberant strength that formerly characterized her style and infused more poetry and dreamy expression into it. No more eloquent and inspiring delivery of Schubert’s trying fantasia in C major (opus 15), of Chopin’s lovely ballad in A flat of Liszt’s stupendous work built on themes from ‘Don Giovanni’ and of the intricate transcription of Weber’s ‘Imitation a la Valse,’ by the late Tausig, could be desired. She had the valuable services of Miss Sterling and Messrs. Kopta and Bergner as interpreters of the rest of a very attractive bill.”