Wieiawski-Maurel Classical and Popular Concert: 3rd

“The last of the three concerts announced by Mr. Wieniawski and Mr. Maurel took place last night. It opened with Schumann’s string Quartet in A minor, charmingly played by Messrs. Wieniawski, Schwartz, Matzka, and Bergner, and embraced a great variety of music, Mr. Wieniawski playing his own ‘Legende’ and first ‘Polonaise’ and other pieces, Mr. Maurel singing the ‘Sei vendicata assai’ from ‘Dinorah,’ a romanza from ‘Don Carlos,’ and his grand aria from the ‘Siege of Corinth’for an encore; and Miss Jenny Bull attempting with equivocal success the florid and uninteresting ‘Ah con lui’ from Paccini’s ‘Saffo.’ The great feature of the concert, however, was the performance of Beethoven’s Kreutzer Sonata by Mr. Wieniawski and the new pianist, Madame Madeline Schiller. How beautifully the violinist does his part in this work we all know, for it is not long since we heard him do it with Rubinstein. It was apparent last night from the very first measures that in Madame Schiller he had the coöperation of a real artist. Such honest, clear, forcible, eloquent playing of Beethoven as she gave us is rare indeed. Her touch is remarkably delicate and distinct, her fingering is a marvel of elegance, her style somewhat masculine, as if she made an intellectual study of her composers rather than a sentimental conception. She gives us a truthful and impressive interpretation of the work before her, with less grace perhaps than some artists would exhibit, and with less brilliancy than we might look for from others, but with a conscientious fidelity and vigor which are better than either. She displayed, in Liszt’s transcription from the ‘Midsummer Night’s Dream’ an admirable technique and a command of the lighter elegances of the art, yet not, we should say, the freedom and dash which such a piece demands. Madame Schiller is a young lady of English birth but German descent, and has only recently come to this country. She is the wife of Mr. Bennett, a merchant of Boston.”

“The elements having finally wearied of persecuting MM. Wieniawski and Maurel, the concert given yesterday evening by these distinguished artists was very largely attended. It was, unhappily, the last of the series—unhappily, we say, for the dilettanti who have been kept away from Steinway Hall during the week just ended have certainly missed several delightful entertainments. Last night’s affair was worthy of mention with its predecessors, and in some respects it exceeded them in interest. The programme was commenced with the melodious A minor quartette, by Schumann, which M. Wieniawski and Messrs. Schwartz, Matzka, and Bergner played with perfect ensemble. Then came the romance ‘Sei vendicata assai,’ from ‘Dinorah,’ sung by M. Maurel with the dignity and sentiment which his thoroughly artistic temperament and rare skill as a vocalist enable him to throw into the least important compositions. The baritone was, of course, recalled after his first effort, and he supplemented the romance with one verse of a graceful Italian song. M. Wieniawski followed M. Maurel, with his delicious ‘Légende,’ and his brilliant first polonaise. The first part of the concert closed with a romance from ‘Don Carlos,’ a piece which loses a good deal by transfer from the stage to the platform. The slight impressiveness of the number did not, however, lessen the effect of M. Maurel’s recital, and the gentleman had to reappear, and, in deference to an encore, to give the andante of the air from ‘The Siege of Corinth.’ The second part of the performance introduced a pianist new to local audiences. Mme. Schiller, who is well known in Boston, had not until yesterday been heard in this City, when it became evident that Boston concert-goers were to be envied her possession. Mme. Schiller began by interpreting the piano-share of Beethoven’s ‘Kreutzer’ sonata. She at once offered evidence of sensibility, technique, and experience of no common kind. The playing of M. Wieniawski, who fairly surpassed himself in maestria, rather dwarfed, as the violin generally does, the piano-part of the sonata, but Mme. Schiller had, perhaps, a finer opportunity of asserting her solid qualities as a musician than in any ordinary solo. The transcription by Liszt of themes from Mendelssohn’s ‘Midsummer Night’s Dream’ afforded Mme. Schiller, a few minutes later, the required chance for an exhibition of her excellences as a soloist. She is unquestionably a most accomplished performer. She has considerable wrist-power, a touch of reasonable variety, unexceptionable cleanness of execution, and much fluency. If Mme. Schiller’s tone were somewhat rounder, if her touch were a trifle more brilliant, and her style marked by a little more brio, nothing better could be desired. As it is, after adding to this enumeration of the pianist’s characteristics that her readings are absolutely correct and very scholarly in respect of rhythm we shall have said enough to warrant the regret that she should be wedded to Boston instead of New-York. Mme. Schiller was much applauded last evening, and she had to return to the instrument and play an Etude, by Kullak. Subsequently, M. Wieniawski interpreted Ernst’s fantasia on motives from Bellini’s ‘Il Pirata;’ and, on being recalled amid much enthusiasm—as after his first piece which, by the way, he had to supplement by Vieuxtemp’s ‘St. Patrick’s Day’—he recited ‘Le Carnaval.’ The duo from ‘La Favorita,’ by M. Maurel and Miss Bull—whom we ought not to forget with a satisfactory rendering of the florid ‘Ah! con lui!’ from Piccini’s ‘Saffo’—ended the concert.”

“The audience assembled at Steinway Hall last night enjoyed a great treat. Never has Wieniawski played better. In the ‘Kreutzer Sonata’ he evinced his mastery over the forms of classic music; in Ernst’s arrangement of a melody from Bellini’s ‘Pirata’ he proved what depth of sentiment and delicacy of tone he could produce from his instrument; and in the ‘Carnival of Venice’ he showed how thoroughly he understood the sensational and exceptional phases of his art. Throughout the entire evening he was received with tokens of appreciation and delight. Mr. Maurel, the latest New York pet, shared in these expressions of favor, which were also extended to the contralto, Miss Jennie Bull.

Miss Madeline Schiller, who on this occasion made her debut in New York, is a pianist of marked ability. In the ‘Kreutzer Sonata,’ played with Wieniawski, she exhibited neatness of execution and delicacy of touch; and in Liszt’s ‘Midsummer Night’s Dream’ transcription she showed power in the use of the left hand, as well as a general command of the resources of the instrument. In the quiet ease of her manner at the piano Miss Schiller reminds one of Miss Mehlig. As she will probably be frequently heard during the coming season, further opportunities will be offered to judge of her merits. As yet we discern grace and brilliancy rather than tenderness or breadth in her style of playing.

The Wieniawski troupe will soon start on an extended tour, and if they do not achieve success, it will not be because they do not deserve it.”

“The third of the series of concerts announced by those distinguished artists took place last night at Steinway Hall before a small audience. The programme was more interesting than either of its predecessors, and was rendered faultlessly. The quartet in A minor of Schumann, which opened the concert, was given by Messrs. Wieniawski, Schwartz, Matzka and Bergner, and was more successful than any of the other specimens of chamber music given at those concerts. Chamber music requires players of equal calibre, and accustomed through years of experience, to blend tone and style together, so that no undue prominence on the part of any particular instrument can take place. Where such a surpassing artist as Wieniawski takes a part in chamber music the superiority of his art and his violin makes itself felt, and the necessary balance of tone is lost. This, however, was less apparent last night than at the two preceding concerts. M. Wieniawski’s assistants showed an earnestness and spirit that brought out the salient points of Schumann’s magnificent work, which gives each instrument equal prominence and in which the subjects are so evenly distributed. The first polonaise of Wieniawski, which he played on this occasion, is one of the most brilliant and sparkling of his works. Maurel sang the lovely romance from ‘Dinorah,’ ‘Sei vendicata assai’ and a selection from ‘Don Carlos’ in his best style. Miss Jennie Bull sang an aria by Paccini which Mme. Cash-Pollini made so popular in this city some years ago. Her voice is a pleasant, sympathetic contralto, and has only the fault of occasionally falling below the proper pitch. Her phrasing is also deficient, as it does not always give an intelligible idea of a work. Mme. Schiller played Liszt’s transcription of ‘A Midsummer Night’s Dream,’ and, with M. Wieniawski, the celebrated Kreutzer sonata of Beethoven. Her success in the former work was unequivocal, and in response to an enthusiastic encore she gave an excellent rendering of an étude by Kullak. With a light, emotional touch, Mme. Schiller possesses intelligence in phrasing and expression of a high order. There is not much depth in her style, but there are neatness and poetry in her execution. It is the best specimen of lady pianism, with the exception of Miss Mehlig, we have ever had in New York.”