Alfred H. Pease Annual Concert

“Mr. A. H. Pease showed specimens of his workmanship last night at Steinway Hall, under favorable conditions, for he had a good audience, good singers, and the Thomas orchestra. His skill as a pianist was illustrated in the Liszt Concerto in E flat, a transcription by himself of the Polacca in ‘Mignon,’ and an arrangement of ‘Home, Sweet Home’ and ‘The Old Folks at Home,’ and he had promised also a duo on themes from ‘Aida,’ but this was omitted on account of the sickness of Mr. S. B. Mills. Mr. Pease is a forcible player, with a very facile execution, and though his touch lacks delicacy and he uses the loud pedal too much, he must certainly be ranked as an effective performer. As a composer for the orchestra he has already made some reputation. Last night he presented a Huldigungs-Marsch, dedicated to Theodore Thomas, and a short Scherzo. Both are well scored—and especially the March—for he has studied the art in Germany to excellent purpose. We cannot call the themes original with Mr. Pease; he writes under the influence now of Wagner and now of Mendelssohn; but they are treated with ability, and the coloring is always rich. Mr. Whitney sang the ‘Bedouin Song,’ by Mr. Pease, which was so well received at a recent Thomas matinée. Miss Beebe gave Mozart’s ‘Voi che sapete,’ and Bishop’s ‘Bid me discourse,’ besides two ballads as recall pieces. The orchestra played the overture to ‘Oberon’ and the ‘Midsummer Night’s Dream,’ and the Introduction and Bridal Chorus from the third Act of ‘Lohengrin,’ with the addition of the military March which ushers in the last scene of the opera. We need hardly say that under Theodore Thomas’s direction these ‘Lohengrin’ selections were really gorgeous.”

“If Mr. Pease gives but one concert a year, that at least is a good one. What with the assistance of Miss Beebe, Mr. Whitney, and the Thomas orchestra, the entertainment last evening was one of exceptional interest. That portion of the programme which consisted of Mr. Pease’s own compositions was from its novelty the most interesting. An American composer is especially entitled to a respectful and attentive hearing, and he is to be congratulated when what he has written is interpreted by such an orchestra as that of Theodore Thomas. Two orchestral compositions given last evening, of which Mr. Pease was the author, were Huldigung’s March, dedicated to Mr. Thomas, and then performed for the first time, and a scherzo.

The march is a work deserving of great praise. The orchestration was doubtless the result of a careful study of Wagner’s style, but the themes are original, strongly worked out, and instrumented with breadth, freedom and variety.

The scherzo is of scarcely inferior merit, and both works are of a character that might entitle them to a place on any programme.

It is as a pianist that Mr. Pease is generally known rather than as a composer; but in this direction the standard of late years has been raised very high in our concert rooms, and judged by it Mr. Pease falls far short of the mark of greatest excellence. He has power of touch and great facility in execution, but his style though brilliant is spasmodic, and lacking in symmetry, delicacy, and poetic feeling. His phrases are sometimes run together and played haphazard, especially in such large compositions as the ‘Liszt Concerto.’ It is one thing to master the mere technical difficulties of a composition, and another to master also its spirit and purpose. Even in accompaniment where, if ever, a legato style and repose of manner is vitally necessary, the constant staccato, which is a characteristic of Mr. Pease’s playing, is disagreeably conspicuous.

Miss Beebe sang Mozart’s ‘Voi che sapete’ and Bishop’s ‘Bid me Discourse.’ For the first of these compositions this excellent artist’s voice is not large enough. It was not written for a high, light soprano, but for a rounder and fuller voice, and one having more weight and capacity for pathos than that of Miss Beebe. Miss Moulton, for example, sang the aria superbly, and is one of the few Americans who have ever been able to give it adequate expression. Miss Beebe is one of the most interesting of our concert singers, and it was an especial pleasure to hear her for once sing Bishop’s quaint and lovely song with its proper accompaniment—that of an orchestra. It was always delightful, as Miss Beebe has given it heretofore with only the piano, but gained much from the effective background that the orchestra furnished.

Mr. Whitney sang a spirited and admirably written Bedouin song, composed expressly for him by Mr. Pease, and giving effect to the full register of his noble and manly voice. Mr. Pease is to be congratulated on the artistic success of his concert. He certainly has made for himself a good and honorable position as a composer for orchestra, in addition to the reputation he already possesses as a pianoforte and song writer.”

“We recently had occasion to allude in terms of commendation to the good work which Mr. Pease has lately been doing as a composer. Last night, at Steinway Hall, he fully vindicated our favorable opinion. With the aid of Theodore Thomas’s admirable orchestra he was enabled to produce in the best style some of the more ambitious specimens of his skill in orchestral writing. A scherzo of great finish and delicacy gave much gratification to the audience. A more elaborate work was a Huldigungs March which the composer has dedicated to Theodore Thomas. In its richness of orchestration and general style this composition suggests Wagner’s style. Both of these contributions to orchestral music were received with favor, and will serve to place Mr. Pease in the foremost ranks of American composers. ‘The Bedouin Song,’ written for Mr. Whitney, was sung last night by that superb basso with good effect. Mr. Pease also appeared as a pianist, performing with great skill Liszt’s difficult E flat concerto, and several of his own transcriptions.

The other features of the concert were the performances by the Thomas orchestra of overtures by Weber and Mendelssohn, and movements from Wagner’s ‘Lohengrin’; and the graceful vocalization of Miss Henrietta Beebe, who sang Mozart’s ‘Voi che sapete’ and Bishop’s ‘Bid me Discourse,’ being encored in each.”

“New York, April 22 (crowded out last time). –The occasion of Mr. Pease’s annual concert at Steinway Hall, came in storm and wind, much to the regret of numerous friends and well-wishers of the pianist; despite the elements, however, an audience, fair in number, came to testify to their appreciation of the excellent bill offered them. Mr. Pease had the co-operation of the Thomas Orchestra. The pieces he selected for his cheval de bataille was Liszt’s concerto, in E minor, No. 1.—a work of great difficulty as every one knows. Mr. Pease gave a very acceptable performance of this composition.  His playing shows that he has been hard at work for the past two years, and that he has studied to great advantage. Mr. Pease also played a transcription of his own, (Polacca from Mignon) a very graceful composition.

The overture played [see above]. Both of these compositions [Huldigung’s March and Scherzo] are well recorded and show considerable skill in the development of the subject. The Scherzo, which is quite Mendelssohnian in style, was received with great applause.

Mr. Whitney sang the ‘Bedouin Song,’ which was composed especially for him by Mr. Pease, and which was given at one of the Thomas matinées recently. This piece was re-demanded by the audience and rendered a second time.

Miss Henrietta Beebe sang Mozart’s ‘Voi che sapete,’ and Bishop’s ‘Bid me discourse.’”