Philharmonic Society of New York Concert: 3rd

“The third concert of the present series of entertainments by the Philharmonic Society was given at the Academy of Music last evening. The audience was by no means numerous, but its reduced size can fairly be ascribed to the weather, rather than to any lessening of the public’s interest. The programme interpreted was framed as follows [see above].

The feature of the entertainment was without doubt the violin-concerto, made interesting by its own merit and impressive beyond description by the magnificent playing of Señor Sarasate. The concerto is written with a sufficient appreciation of the legitimate uses of the instrument to rank with the best classical compositions become familiar by repeated performances, and passages of the andante are of a melodious beauty, easily discovered and admired. The three movements of the piece, the introduction, the andante and the allegro, were superbly delivered. Señor Sarasate was favored with a most cordial reception, but the effect of his work was shown by a demonstration of delight which the audiences of the Philharmonic do not often unite in. Nothing, indeed, could have been better than the violinist’s recital. Señor Sarasate’s right and left hands have equal skill. His command of the keyboard is thorough, and his management of the bow is subject to a sensibility and an eloquence that are not part of merely technical acquirements. Señor Sarasate was recalled after his share of the night’s labors was ended. If the other soloist did not afford the full satisfaction resulting from the violinist’s efforts, her debut was nevertheless successful. Mlle. Corradi’s voice is deficient in richness, and the lower notes have suffered by the severe training of the upper register. But the lady manages it with a great deal of art. Her intonation is correct, her runs are clear, and her shake is exceedingly good. Her singing, in brief, is deficient in sympathetic quality rather than in proofs of intelligent culture. We do not think her selections were felicitous. The words of oratorio- music are not grateful when spoken with a foreign accent, and the coarse allegro of the air from ‘Il Poliuto’ sounded strangely amid the compositions on the bill. The instrumental numbers chosen were carefully rendered, though portions of the symphony, and especially of the closing allegro, were handled with less delicacy than the string performers of the Philharmonic usually display.”

“The Philharmonic Society already begins to show unmistakable signs of decadence. On Saturday night we made a calculation of the empty seats at the Academy of Music with the following result:--120 seats in the parquette, 133 orchestra stalls, twenty-two balcony boxes and eight proscenium boxes. Again, we find one hundred names on the programme as representing the orchestra present, whereas by actual count there were only twenty four. The programme was as follows [see above].

The lovely symphony was interpreted with unusual spirit and expression, which was a positive relief from the slovenly playing of the previous concerts. The same may be said of the rendering of Beethoven’s immortal overture, in which the members seemed to be inspired with enthusiasm. Heinefetter’s work impressed us as a rambling, aimless, weak composition, that will never possess any interest for a musician. Señor Sarasate proved himself one of the very best violinists that ever visited this country. The concerto he selected for this occasion is a work of a very high order of merit and one that will rank beside Mendelssohn’s celebrated work for the same instrument. Mlle. Corradi revealed the fact that she possessed a hard, well worn, unsympathetic voice, which was particularly unpleasant in the aria from ‘The Creation.’ The Phlharmonic Society seems to have the peculiar facility of selecting the worst vocalists to be found in New York for their concerts. The plan is a cheap one for the particular occasion, but we doubt very much if in the long run it will not prove very expensive.”

“There was a thin house at the Academy on Saturday evening, and, except at the close of Señor Sarasate’s recital of the Bruch concerto for the violin, but little enthusiasm. The programme embraced [see above]. The Schumann Symphony is the last of his finished compositions, and in many respects the best of the four. It is bold and original in harmonic treatment, and in the hands of Mr. Bergmann’s carefully trained orchestra is calculated to afford a high gratification to lovers of good music.

The execution of Señor Sarasate in the concerto was very remarkable, and aroused the otherwise undemonstrative audience to manifestations of the liveliest approbation. His style is graceful, expressive, and indicative of a refined taste, and thorough sympathy with his beautiful art; while his touch is so true and delicate, and his management of both key-board and bow so skillful, that he must be accorded very high rank among violinists. 

Mademoiselle Corradi, the soprano of the evening, was not at all satisfactory, and we are rather surprised that she should have been selected by the Directors to fill so prominent a position at concerts which are intended to be not so much occasions for the amusement for the vulgar, as for the instruction of musical amateurs, and the refinement and elevation of the popular taste.”