Farewell Combination Concert: 2nd

Includes program.

“The second of the two concerts by Messrs. Wieniawski and Maurel and the Thomas orchestra, was given at Steinway Hall last night before a splendid audience. The following was the bill presented [lists works].

This programme was considerably lengthened by frequent encores (Mr. Wieniawski playing among other things the ‘Carnival of Venice,’ and Mr. Maurel giving his great scena from the ‘Siege of Corinth’), so that by the time the best part of the concert—the Pastoral Symphony—was reached it was already 10 o’clock, and the audience, oppressed by the hot, foul air of the unventilated hall, had lost a great deal of its power of enjoyment. Nevertheless, it was a beautiful concert. We have rarely heard Mr. Wieniawski play with more exquisite taste, and the Spohr concerto in particular was a model of sympathetic performance. In Tartini’s ‘Devil’s Sonata’ he renewed the evidences of his wonderful technique and pure tone. Mr. Maurel gave a noble delivery of the ‘Vien Leonora’ from ‘La Favorita’ and the scene from ‘William Tell’—both which would have been much better with an orchestral accompaniment instead of the piano.

The Suite by Hamerik is a charming composition which Mr. Thomas first brought out at one of his Summer concerts, and which has since been given with considerable success in Germany. The composer is a Dane by birth and an American by adoption, being Professor of Music in the Peabody Institute in Baltimore. He illustrates in this Suite some characteristic national music, its five movements consisting of a breezy scene ‘In the Woods,’ a transcription of an old Swedish Ballad, a Norse Fling, a Minuet, and a beautiful Bridal March, which certainly ought to become popular. Altogether it is a work of considerable strength, and will bear repeated hearings.

The performance of the Pastoral Symphony was a splendid climax to the evening, and when it was over a large proportion of the audience remained in their seats and called enthusiastically for Mr. Thomas, who, however, did not appear. The scherzo and storm scene were magnificent.”

“The last of the two combination concerts—a ‘happy thought’ of Theodore Thomas—took place at Steinway Hall last night before a very large audience. The orchestral feature was a ‘suite’ or symphony by Hamerik, a Scandinavian composer, now living in Baltimore. It is rich in melody, and received excellent treatment. Beethoven’s Pastoral Symphony closed the concert, and between these two compositions were pleasingly alternated the playing of Wieniawski and the singing of Maurel.

It is to be regretted that this ‘combination’ cannot be maintained. It contains every element of popular success, and appeals with force to the most cultivated musicians.”

“The second combination concert of the great baritone, the eminent violinist and the popular orchestra had many features of attraction, which can only be found where such artists appear. The first work on the programme was a Scandinavian suite, by Asger Hamerick, the conductor of the concerts of the Peabody Institute, in Baltimore. It is essentially a work for the string orchestra, with parts for the harp and the horns in the first part, which represents ‘Woodland Scenes.’ This movement contains many reminiscences of Mendelssohn. The second part has the same theme as M. Ambroise Thomas has introduced in the last scene of ‘Hamlet,’ the Swedish ballad that Mme. Nilsson has made familiar to the New York public. The ‘Noose Fling,’ which follows, has a Caledonian tinge, and suggests a tartan and plaid in its lively measures. The minuet is of the Marche funèbre order, doleful and monotonous. The finale, ‘Bridal March,’ has many points of resemblance to Thomas’ music in the opera we have already referred to. The work, independent of reminiscences, is a pleasant, well instrumented and enjoyable one and reflects credit on the composer. Its interpretation and that of the Pastoral Symphony of Beethoven by the orchestra was simply perfect. M. Maurel sang the King’s aria, in the second act of ‘La Favorita,’’Vieni, Leonora,’ with exquisite finish, intense feeling and expression, and for an encore he gave an equally agreeable rendering of Schumann’s lovely song, ‘A la Fiancée.’ M. Wieniawski excelled his former efforts in his admirable playing of Spohr’s ‘Gesangs Scene,’ the most genial work that ever emanated from the unrivalled violinist’s pen, and for an encore he played in his very best style the ‘Elegie’ of Ernst. The very strings of his violin seemed to pulsate with emotion in the rendering of both works, and nothing could exceed the enthusiasm of the audience at the conclusion of each. Of all violin players who have visited this country Mr. Wieniawski certainly occupies first place.”