Wieniawski-Maurel Classical and Popular Concert: 2nd

Includes program.

“The second entertainment of the series of concerts to terminate to-morrow evening, took place at Steinway Hall yesterday afternoon, in presence of an audience of the most appreciative kind. A mere mention of the latter fact speaks for the promise of the performance, for actual courage was required, at the hour the matinée commenced, to defy the storm. But the promise was exceptional, and the first night’s experience showed that the pleasant assurances of the Wieniawski-Maurel programmes were certain of fulfillment. The concerted instrumental music bore a fair proportion to the solos, and embraced a quartet by Mozart, in D minor, and an andante and scherzo from Mendelssohn’s E minor quartet. Both of these numbers were exceedingly well played, and in M. Wieniawski’s share in their recital –spite of the remarkable verdict of a contemporary, who yesterday found fault with the violinist instead of blaming Spohr and Mendelssohn for the predominance of the violin part—he only distinguished himself in the proper measure, without at all seeking, as implied, to reduce the remainder of the quartet to the plane of an accompaniment. The solos were numerous, and chosen with decided tact. The rich voice of M. Maurel, his clear enunciation of the text of his songs—and in modern music words are well-nigh inseparable from notes—and his fine phrasing, were conspicuous in every piece allotted to him. He first rendered Gounod’s ‘Méditation Poétique,’ called ‘Le Vallon,’ and, in response to an encore, gave the romance from ‘Don Pasquale.’ In the second part of the concert he repeated the aria di bravura, from Rossini’s ‘Siege of Corinth,’ heard on the previous evening, and only to be dealt with by a vocalist thoroughly acquainted with the style of singing upon which the masters of art depended for the effectiveness of their works. The marvelous ease with which M. Maurel overcame the difficulties of the aria, and the agility and surety of execution shown in the most florid passages, which many artists are thankful to be able to deliver a mezza voce, elicited applause, the earliest round of which broke in upon the air; while the dignity and dramatic force of the recitative were quite as worthy of critical admiration. M. Maurel had to supplement his bravura piece with the pretty romance (‘Sei vendicata assai’) from ‘Dinorah,’ and he brought the entertainment to a close with ‘Eri tu,’ from ‘Il Ballo.’ M. Wieniawski, who was in his happiest mood and best form, interpreted Beethoven’s melodious romance in F; his own tuneful, characteristic, and trying second polonaise; Ernst’s exquisite ‘Elégie’ and his setting of Russian airs; he added to the programme, also, Vieuxtemps’ ‘Air Varié,’ in response to one of many recalls. Mr. Wieniawski’s execution of these compositions has often been alluded to here, and it was long ago conceded that he was the interpreter par excellence of the brilliant repertoire of violin music, we need say nothing more under this head. The songstress of the matinée was Miss Ida Rosburgh, who recited the first aria from ‘Die Zauberfloete’ and Rode’s ‘Concert Variations’—the two most ornate numbers written for bravura-vocalists—with sufficient dash and surety to afford much gratification.”

“The wretched weather of yesterday was specially disastrous in its effect upon the Wednesday matinées. At Steinway Hall, however, there was a larger audience than might have been expected under the circumstances. The ladies who had braved the storm to enjoy the excellent programme offered by Mr. Wieniawski and his associates were very enthusiastic, and, especially in their excitement over Maurel, sacrificed their kid gloves in the most relentless manner. New York has always had some pet singer of the opposite sex on whom the New York ladies would lavish their unstinted applause. Some years ago it was Brignoli, whose sway lasted longer than any other. Quite recently it was Santley, and to-day it is the superb young baritone, Maurel, whose manly bearing and admirable vocalization afford ample explanation of his marked popularity.

A very pleasant feature of yesterday’s matinee was the singing of Miss Ida Rosburgh, a young soprano, who is not wholly unfamiliar to our concert rooms. She has lately returned from a course of study in Italy, and her voice shows the results of careful study. It is fuller and far more flexible than before. Miss Rosburgh was received with great favor yesterday, and was most cordially applauded.

Of Wieniawski it need only be said that he played as Wieniawski always plays. No higher praise than this can an artist ask.”

“Messrs. Maurel and Wieniawski are unfortunate in the first week of their concert season, as the elements seemed to combine against their two first performances. The matinée yesterday was very interesting, as regards the selections and the rendering of them. Maurel was in superb voice, and, notwithstanding the insufficiency of a piano accompaniment in such grand works as the aria di bravura of Mahomet, from Rossini’s ‘Siege of Corinth,’ and ‘Eri tu,’ Renato’s passionate reproach to his erring wife in ‘Un Ballo in Maschera,’ he sustained fully the high reputation so justly accorded to him in New York. Nothing can be more noble and inspiring than the style in which M. Maurel interprets those arias. Wieniawski played the ‘Élégie’ of Ernst, Beethoven’s ‘Romance in F’ and his own variations on Russian airs and second polonaise. The inclemency of the weather and the smallness of the audience were calculated to exercise a depressing influence on the spirits of any artist; but M. Wieniawski did not appear to be affected, as he played in his happiest and most inspired vein. Seldom has such an enjoyable feast of music been afforded by a virtuoso, and it is only to be regretted that the financial result was not proportioned to the artistic. Miss Ida Rosburgh essayed the first air of ‘Astra-flammente,’ in ‘Il Flauto Magico,’ and Rode’s variations, both well adapted for bravura display. Miss Rosburgh’s voice is light, flexible and agreeable, and has a large compass. But she has much to learn yet in phrasing, finish of execution and coloring in expression. A string quartet of Mozart and two movements from one of Mendelssohn formed a part of the programme.”