Festival Week of Grand Oratorios and Concerts: 3rd

Includes program.

“The entertainment last night at Steinway Hall consisted of a miscellaneous concert with the following programme [see above].

The triple concerto, with accompaniment by the string orchestra, is a most delightful work, short, bright, and hearty, suggestive perhaps to the modern taste of bigwigs and hair powder, but full of the beauty which never becomes antiquated and the majesty that is never dull. The performance was superb, and we cannot but congratulate ourselves upon the possession of two artists like Messrs. Mills and Mason capable of passing triumphantly through the severe ordeal which every man must submit to who plays with Rubinstein. The trio were recalled four times, and the demand for a repetition finally became almost an uproar; but all encores last night were rigorously declined. Mr. Rubinstein’s execution of the Weber Sonata later in the evening was entirely characteristic. Perhaps it did not exhibit his highest powers, and it did not show as fully as some other pieces the strong contrasts of touch for which his playing is so often remarkable; but it was both forcible and sympathetic. The Adagio of his which Mr. Wieniawski chose for his first violin solo is a beautiful bit of melody, with orchestral accompaniment, introduced by a quartette of ‘celli. Both the band and the solo artist did it full justice. Miss Cary’s aria from ‘L’Italiana in Algeri’ seemed to be heartily relished by the audience, and Mrs. Smith’s execution of Guglielmo’s well known florid and unmeaning aria, with the flute obbligato, earned an abundance of applause; neither of them, however, accorded with the spirit of the programme.

The share of the orchestra in the work of the evening was of course done to perfection. The beautiful Adagio from Beethoven’s ‘Promotheus,’ with the harp and ‘cello obbligati, made a deep impression, and the Gluck overture was as usual a remarkable exhibition of the rich tone and perfect accord of the violins. But the most interesting of the orchestral pieces was the new introduction to ‘Tannhäuser.’ It was written by Wagner to supply the place of the well known overture when the opera was produced in Paris some years ago, and once since then we believe the opera has been given with it in Germany; but it has never been published and was never heard in this country until last night. To those who are interested in the development of Wagner’s theories it is a highly curious study. Dealing for the most part with certain themes of the original overture, it handles them in a new and striking way, with a far more powerful grasp of the resources of the orchestra, a bolder fancy, and a more daring disregard of rhythm and conventionalism. The opening air of the old overture the Pilgrim’s chorus, is entirely discarded; the new Introduction begins with the old Allegro Agitato, embroiders it with an astonishing wealth of instrumentation, and after it has been duly elaborated passes into the Bacchanale, the old theme taken from the scene on the Venusberg, but scored in a much more effective manner, with a remarkably ingenious use of the castanets. Then follows a new theme, a vague Andante, and the piece ends rather tamely, the action of the opera being supposed

to go on immediately without any break. Very few of the qualities which made the Overture so popular will be found in the Introduction; but Wagner, as we know, has learned to repudiate whatever pleased the multitude in his earlier works.

The attendance last night was the largest of the week, and the audience was exceptionally brilliant in quality.” 

“By the variety of the programme, last night’s concert, we should say, afforded the largest amount of pleasure. That portion of the bill which was awaited with most curiosity was Bach’s concerto in D minor, announced for recital by Messrs. Rubinstein, Mills, and Mason. As promised, the three artists appeared, somewhat after the fashion of an enlarged edition of the Siamese twins, and delivered with unimpeachable precision the composition named. We are, however, by no means willing to accept the applause of the audience as the result of the concerto’s impression; the work is elaborate and exacting, but its effectiveness is in indirect proportion to its elaborateness and its exigencies, and we incline to the belief that the spectators, in recalling the pianists cared more for the agreeable historical remembrance to grow out of the sight of the trio, than for the special merit of their united effort. Far more enjoyable, to our thinking, was Mr. Rubinstein’s interpretation of one of Weber’s sonatas; the piano-writings of the composer of ‘Der Freyschütz’ are thoroughly intelligible and symmetrical, and Mr. Rubinstein played his selection, last night, not only with a brilliancy and a power never wanting in his delivery, but with a beauty of tone not invariably combined with the qualities inherent to his style. The bill, however, was rich in welcome numbers. An aria, ‘Gratias agimus tibi,’ by Guglielmo, was the means of introducing to the New-York public a soprano songstress from Boston, Mrs. H. M. Smith, who was received with much favor. Mrs. Smith’s voice has an excellent timbre, and its sweetness does not rob it of strength; in the air we cite, she managed it with considerable skill, and rendered a cadenza exceedingly ornate and difficult, and reminding one, by the co-operation of the flute, of the music of the mad scene in ‘Lucia’—to which, by the way, it would be as apposite an appendage as to a ‘Gratias’—with ease and impressiveness; the high notes in the piece were not sounded with absolute truthfulness. Another vocal contribution to the concert was that of Miss Annie Louise Cary. Miss Cary, whose fresh tones, correct reading, and broad style have been admired time and again, sang ‘Pensa alla patria,’ from Rossini’s ‘Italiana in Algieri,’ a composition similar in form and treatment to ‘Bel Raggio,’ and quite as trying as that trying show-piece; she was summoned back to the platform at its conclusion, and only avoided repeating it by a declination to accord the encore. Mr. Wieniawski was the remaining soloist, and a superb performance of an adagio by Rubinstein, and of a dashing ‘scherzo-tarantelle’ by the violinist himself, offered evidence of his virtuosité and command of technique. In addition to the above-mentioned elements of the programme, Mr. Thomas’ orchestra executed [see above]. From the single hearing of the additions to Tannhäuser, it would not seem that Wagner’s imaginative forces had been severely drawn upon by the attempt. The familiar motives, handled after familiar methods, are recognizable throughout the work. To its exposition, as to that of all the numbers intrusted to Mr. Thomas’ men, we need but refer as having been worthy the reputation the band is entitled to.”

“A programme of miscellaneous music was given last night—one of the festival series—at Steinway Hall. We have not space to discuss the whole, but we may simply draw attention to the principal points of attraction, namely: Bach’s concerto for three piano-fortes, performed by Messrs. Rubinstein, Mason and S. B. Mills; to Mr. Wieniawski’s incomparable performance of an adagio of Rubinstein and a scherzo tarantelle of the gifted violinist himself, and to Carl Maria von Weber’s sonata in G major, performed by Rubinstein.

In Bach’s concerto the principal point of attraction, of course, centred in Rubinstein, his part being the principal. But it was interesting to note the different styles and point of attack with which each pianist characterized the performance of his part; Rubinstein reveling in barbaric splendor and uncertain tempi, and those exceedingly finished pianists, Messrs. Mills and Mason, accommodating themselves to his comprehensive though erratic reading. It is curious to observe how Bach, almost in every instance, begins with an allegro of large proportions, suggesting the form of the symphonic first movement, the invention and development of which have been attributed to Haydn. Bach, it is evident, in a great measure preceded Haydn in the most important of all musical discoveries—the symphony. Bach’s music is entitled to the highest admiration on account its intrinsic beauty, added to which, as studies for the attainment of fluent and vigorous execution, they are invaluable. It was by the constant practice of Bach’s fugues that Clementi, Dussek, John Cramer, Hummel and Mendelssohn obtained the command of the legato, and the acquisition of that graceful touch for which they remain unrivalled.

We have frequently dilated upon the style and beauty of Wieniawski’s playing; it will suffice, then, to say that his performance, last evening, of an adagio by Rubinstein and his own scherzo tarantelle confirmed the opinion we have already advanced, that he is an artist of the greatest sensibility and considerable intellect, one who invariably delights you by an excess of beauty in every fresh performance, imparting to each effect some unexpected degree of novelty and emotion.

Rubinstein’s execution of the sonata from a set of grand sonatas by Weber, was very masterly, developing each characteristic of the composition with much effect.

The singing of Rossini’s aria, ‘Pensa alla Patria,’ by Miss Annie Louise Cary, displayed her abilities to advantage. The composition is charmingly melodious and thoroughly genial; it is one of the countless effusions of a master rarely uninspired. Mrs. H. M. Smith, from Boston, sang the ‘Gratias Agimus Tibi,’ by Guglielmi, very satisfactorily; her voice is pleasant in quality and elastic.

The overture [lists works performed by the orchestra—see above] were rendered by the orchestra with their accustomed excellence.”

“The audience at Steinway Hall last evening was the largest that has been assembled during the entire festival. Besides the presence of the orchestra and solos by Rubinstein, Wieniawski and two lady vocalists—unfailing attractions in themselves—there was the additional novelty of the performance (the first, we believe, in this country) of Bach’s concerto in D minor for three pianos. Bach wrote two concertos for three pianos, and the one in question is considered the more interesting as it was a favorite with the old ‘King of Fugue,’ who used to play it with his sons, Philip Emmanuel and John Christian. It has an accompaniment of string instruments, which take up the subjects at times when they are relinquished by the pianos. The wonderful and never-to-be-equaled fertility of ideas in the treatment of a subject which has made the name of Bach imperishable could scarcely be shown under more favorable circumstances. Modern audiences incline more to sensationalism and triviality in music than to the sturdy, honest utterances of the Kappelmeister of Frederick the Great. But the spirit, unanimity and promptness with which Messrs. Rubinstein, Mills and Mason responded to each other; the vividness and correctness of every theme as it passed under their hands, and the rich yet delicately shaded coloring thrown over their performance by the inimitable string orchestra were fully appreciated by the audience, who broke forth into rapturous demonstrations of delight. The quaint old movement, Alla Siciliana, in which the theme become chameleon-like in its multitude of changes, brought the concerto to an end, and it must have been an ear of extraordinary delicacy of perception that could detect a flaw in the performance. This is high praise, considering the gossamer boundary that in a work of this kind divides order and perfection from chaos. A single mistake on the part of any of the performers would act like a broken rail beneath a train of cars. The composer has written one concerto for four pianos, with string orchestra; that alone remains for the public of New York to hear. Although Bach cannot be recommended as steady diet for musicians or for the public, yet his occasional appearance on concert programmes cannot fail to have a healthy effect. A mind that could bring a melody through thirty variations and enrich a fugue subject with eight obligato parts deserves the respect of every lover of music before any of the new-fangled prophets who wish to create a commune in the domain of art.

The orchestral selections consisted of [see above]. The last mentioned [Wagner’s Introduction and Bacchanale from Tannhäuser] was the novelty of the occasion. Retaining some of the themes which may be found in the old overture and the song of the sirens, the composer, in this new work, has adopted an entirely different treatment of these subjects. The instrumentation in many of the passages is exceedingly rich and effective, and in others exceedingly puerile and barren. Part of the ‘Bacchanale’ gives a fair idea of chaos, and from the leading violins down to the castanets and pop-guns the movement only excites ridicule. The concluding bars are very beautiful, and unexpectedly so after such a storm. Rubinstein played Weber’s Sonata in A flat, with somewhat less of his accustomed fire and finish, attributeable [sic] undoubtedly, to the severe physical fatigue he has undergone in travelling for the last few days. The beauty of the subjects in Weber’s piano works and the richness of the coloring given to them make considerable demands upon the powers of an artist. Wieniawski appeared in an Adagio by Rubinstein and one of his own works, ‘Scherzo Tarantella.’ He was in unusual good spirits, for his playing was even better than we can remember on any previous occasion. He took the ‘Tarantella’ at such a fearful tempo that there was a fear he might not be able to carry it through without a break, but such a fear was found to be groundless. His phrasing and expression, even in the most rapid movements, are finished and intelligible, and in cantabile parts, like Rubinstein’s ‘Adagio,’ the volume and warmth of his tone cannot be excelled. Mrs. H. M. Smith, a Boston soprano, who has been lately secured for the choir of Christ Church in this city, sang an aria, ‘Gratias Agimus,’ by Guglielmo. The fecundity of ideas which characterized this old maestro of St. Peter’s, took shape rather in opera than in church music. No one could be led to believe that the music of ‘Gratias Agimus’ was not originally intended for the footlights. Many of the passages were strangely like an aria from ‘La Clemenza di Tito,’ the only difference being that instead of the clarionet there was a flute obligato, exquisitely played by Mr. Eugene Wiener. Mrs. Smith has a light, agreeable voice, and uses it with discretion and taste. Her roulades and trills, if not faultless, had an air of finish and ease.”