Concert of the Di Murska Concert Company

Partial program listing. 

“The matinée concert of Mme. Ilma Di Murska, at Steinway Hall, yesterday, was not so largely attended as anticipated. It must be borne in mind, however, that Mme. Di Murska has been heard again and again in opera; that all her associates save M. Braga have familiar faces; and, again, the weather when theatre-going is a pleasure, has not fairly set in. Mme. Di Murska was not in very good voice yesterday, but she was none the less applauded for brilliant performances of the ‘Shadow Song,’ from ‘Dinorah,’ and ‘O luce’ from ‘Linda.’ Signor Ferranti’s buffo pieces were, if anything, more effective than ever, and the applause which was bestowed upon his efforts, as well as upon those of Herr Habelmann, would have been extraordinary if the audience, instead of including so large a proportion of the fair sex, had been made up wholly of vigorous men.” 

“The performance of Mendelssohn’s grand piano-forte trio in C minor (op. 66) at the Ilma di Murska matinée on Saturday was an event worth recording. That this and other similar works should remain buried in silence when they can be readily performed by a small party of instrumentalists is singular, considering the great number of cultivated amateurs who are well able to appreciate and enjoy such music. The movements are as follows [listing of the four movements].

The energetic, fiery first first subject, with its vigorous harmonies and highly involved contrapuntal treatment and close imitations, contrasts well with the lovely, graceful Cantabile which forms the second subject. The Allegro is constructed with wonderful skill entirely on those two themes, developed and varied so as to fully display their many-sided beauties, and finally the speed is increased and the movement rushes onward with resistless, passionate force to the close. The Andante is one of the loveliest ever penned. Its graceful, rhythmic motion, its rich and novel harmonies, formed by several co-existent strains, of highly eloquent melodies, are admired by all. The Scherzo is one of those surprising creations which Mendelssohn invented, and which no one has yet succeeding in imitating, though he has had hosts of imitators. Its rapid motion is continued to the last note, when a sudden silence informs us that its short-lived existence is ended. It is remarkable that Mendelssohn, whose solid, massive style of writing for the organ and the oratorio approaches so nearly that of the great Sebastian Bach, should conceive such highly original ideas for Scherzi, which are so totally opposite in character. They are found flurried, fidgety, agitated, impatient, wild with excitement, though often played with extreme softness and delicacy; and thus sometimes appear like a ‘tempest of the heart,’ repressed as by a strong will.

The Finale has noble proportions, like the first movement. During it progress Mendelssohn has introduced a grand chorale, with dramatic intentions and in his happiest manner. It seems as though the consolations and higher joys of religion were thus recommended to mortals whose earthly cares and hopes alone form the subjects of their songs. With a magnificent Coda this truly great work ends.

The concerts of this company will be made most accessible by performances of this high style of art. Audiences here are much more cultivated than many concert-givers suppose, and they not only listen to but criticize intelligently and really enjoy such music. They care not for the ordinary faded stock concert pieces, which have had their day, and are in themselves meaningless and barren; nor do they care for those pieces which, written to display some special executive powers, have long since ceased to create astonishment, or even a passing interest. They feel that virtuosity is not art, and cannot satisfy their cravings for something refreshing to the heart and senses, and elevating to the mind.

The trio was most admirably played. Mme. Carreno Sauret’s touch is fascinating and delicate in the soft passages, and firm and powerful elsewhere. The tone is never loud, but full and strong when necessary; its quality is therefore in keeping with the character of the music. M. Sauret played the sonata from memory, and also showed an intimate acquaintance with the style and spirit of classic art.

The other members of this concert party have already received honorable mention in these columns.”