Rubinstein-Wienawski Chamber Concert: 1st

Assisting artists; partial repertory.

Includes program.

“Messrs. Rubinstein and Wieniawski were heard, with other artists, in a concert of chamber-music, given at Steinway Hall, last evening. The programme of the affair included Mendelssohn’s trio in C minor; a quartet, by Beethoven, and Hummel’s septet, in D minor, and it was recited with all the effect to be wrought in so large an auditorium by the distinguished soloists, and the excellent orchestral performers who seconded their efforts. Where artists like Messrs. Rubinstein and Wieniawski are concerned, the labors of the most proficient of executants can only result, of course, in the production of a capital accompaniment for the work of the principal musicians. Mr. Rubinstein’s piano-playing especially, reduces to insignificance the exertions of his associates, and as in chamber-music one part should not be exalted over another, critical amateurs might ask for more Rubinsteins, or else for better opportunities for the assertion of that gentleman’s talents than trios and quartets can afford. Hence we avow a preference for the ‘miscellaneous’ bills of the first series of Rubinstein concerts, and we are quite sure that our ideas on this point are generally shared. Until a fresh succession of these entertainments is announced, however, chamber-music performances are to take place. The second may be attended at Steinway Hall, to-night. The vocalist, last evening, was Miss Liebhart, who was much applauded.”

“We would not go far wrong in saying that the concert given last evening at Steinway Hall, the first of a series of ‘Chamber Concerts’ announced for the Rubinstein-Wieniawski troupe, was the most delightful that has been given by this gifted musical company. There was a very large audience, who manifested every sign of the highest satisfaction. Mme. Ormeny did not sing in consequence of illness, but Mlle. Liebhart was in better voice, and sang with more finish and expression than on any former occasion.”

“The experiment of Mr. Grau in introducing his two great artists in chamber music has not proved a successful one. The very fundamental principle of this branch of art is a nicety of balance in the ensemble as delicately poised as the scales of an apothecary. The slightest preponderance of one of the instruments over another destroys the entire character of an instrumental trio, quartet, quintet, &c. Rubinstein is essentially a solo performer, and has all the waywardness and uncontrollable spirit of an exceptional pianist. But place him among other artists, under circumstances in which he is obliged to accommodate his tone, expression and conception to lesser interpreters, and the result is as if Dexter or Goldsmith Maid were harnessed with steady, plodding Park steppers. First Rubinstein would kick in the traces, and again Wieniawski would get the bit between his teeth. There were three concerted pieces in the programme, a trio in C minor, by Mendelssohn, a quartet in C minor, No. 4, by Beethoven, and Hummel’s septet in D minor. The assistants of the two artists were well known favorites, and during the Thomas and Mason seasons they proved themselves excellent interpreters of chamber music; but on this occasion they were simply accompanists. They were Mr. George Matzka, violin; Mr. Goffrie, viola; Mr. Bergner, violoncello; Mr. Reitzel, flute; Mr. Ohleman, oboe; Mr. Lotze, horn; and Mr. Rueder, contrabass. They did their share of the work commendably, but they were so overshadowed by the two soloists—for soloists they must always be, under every circumstance—that the performance could hardly be called chamber music. Mlle. Liebhart sung some of her characteristic songs.”