Galaxy Concert: 1st

“Holders of course tickets, purchased prior to the opening of the ‘GALAXY,’ will be ADMITTED FREE to these Concerts…”

“…[I]t is not amiss to notice here a grand concert, which is part of the [Galaxy] course, and which may be attended on Saturday evening next. It will enlist the services of Mme. Lucca, Signor Tamberlick [sic], M. Wieniawski, and M. Jamet—four artists whom enterprise and chance have rarely brought together in a single entertainment.”

In the “Musical Gossip” column. “Wieniawski, the violinist, is in town, and has become well known as a frequenter of the opera. He ought to be heard oftener in the concert room.”

“Signor Tamberlik will sing the ‘Ave Maria’ at a concert which is to be given at Dr. Hepworth’s church on Saturday evening.”

Program.

“At the concert which is to be given at the Church of the Disciples this evening Signor Tamberlik sings the ‘Cujus Animam’ from the ‘Stabat Mater’ and the ‘Ave Maria,’ Mme. Lucca selections from Meyerbeer and Mozart, and M. Jamet a cavatina from ‘La Juive’ and an aria from ‘Martha.’”

Begins with lengthy general assessment of Tamberlik and a review of his performance in Poliuto (see separate event entry of 10/18/73: Maretzek Italian Opera: Poliuto). “…In concert Signor Tamberlik is no less impressive than in opera. Last evening, at the Church of the Disciples, with Mme. Lucca, Jamet, Wieniawski and Berge, he appeared before a large audience. He sang the well-known ‘Cujus Animam,’ from Rossini’s Stabat Mater,’ with a smoothness, as well as nobility of delivery and style, a due regard to the nuances of expression and an intelligibility of phrasing that gave this well worn concert aria a new significance. But in the delightful ‘Ave Maria’ of Gounod he won an unmistakable triumph. It was admirably suited to his broad, expressive style, and his voice seemed to be aflame with its old power, as, buoyed up by the obligato of Wieniawski’s violin, it rang out in trumpet tones. The value of Signor Tamberlik’s art cannot be overestimated. It unlocks hidden treasures in opera of whose existence many experienced habitués have no idea, tones down certain rough elements in a rôle, gilds and freshens the most striking airs and situations, and paints a harmonious picture, not an incongruous mass. The autumn of his voice is more delightful than the midsummer of his successors. His art prevents him from aiming at individual effects, and yet he is a tenor distinguished for effect. Effect with him, however, is the natural sequence of conscientious art, and forms a necessary ornament in a harmonious lyric structure.”

“The quality of the artists and excellence of their selections drew many of our musical amateurs to the ‘Galaxy Concert’ at the Church of the Disciples on Saturday evening. The interest of the occasion was enhanced by the fact that this was the first opportunity afforded New Yorkers of hearing Madame Lucca and Signor Tamberlik in concert. Their success was complete and the entertainment as a whole very satisfactory.

Madame Lucca was warmly received, and gave a delicate and careful rendering of an andante from ‘L’Africaine.’ In the second part she sang Mozart’s song, ‘Veilchen,’ which was tumultuously redemanded, and repeated with even greater sweetness and taste than had at first distinguished it.

Signor Tamberlik was heard to eminent advantage. He sang Rossini’s ‘Cujus Animam’ in a manner which exhibited finely his rare art and rich tones. The effect of his rendering of Gounod’s ‘Ave Maria,’ with the piano and violin accompaniment—the latter played by Wieniawski—was delicious.

Signor Jamet made his most decided impression in the porter-song from ‘Martha,’ and as he sang it with his accustomed fluency and vim, he was as usual encored.

Wieniawski gave an enjoyable rendering of his well-known arrangement of the Russian airs, and awakened real enthusiasm by his accurate and brilliant execution in ‘Trille du Diable.’ At the beginning of the second part Dr. Berge played a brilliant extemporaneous voluntary which lasted twenty minutes or more. So far as we are concerned, we have not as yet become wearied of the organ compositions of Handel, Bach or Mendelssohn, and perhaps do not appreciate as we should the more florid music of this ‘progressive age.’”

“The concert which was part of the Galaxy course of entertainments at the Church of the Disciples, took place on Saturday evening. It was largely attended. The programme, which has been printed in these columns already, was of unusual interest, but it does not exact a review, as most of the numbers recited have been made familiar by frequent rendering elsewhere. A mention, however, is due the vocal performance of Signor Tamberlick [sic], and the violin performance of M. Wieniawski. The tenor sang in a style not to be surpassed for grandeur and finish Rossini’s ‘Cujus Animam,’ and Gounod’s ‘Ave Maria,’ two really appropriate selections, and M. Wieniawski played for the first time in this country Tartini’s sonata, known as ‘Le Trille du Diable.’ There is no occasion to rehearse here the story connected with this composition, which the author represented to be the offspring of a dream in which a demon artist appeared to him and sounded in his ears a piece whereof the difficulties were not seemingly to be overcome by the human hand. But it should be remarked that whatever the source of Tartini’s inspiration, the sonata is really trying, even to such a master of the instrument as M. Wieniawski, and it should be added that the author and executant of a score of the most graceful and flowing of violin compositions coped most successfully with the combinations resulting in effects resembling he simultaneous work of three or four Stradivarii [sic]. He was loudly applauded.”