Anna Bock Farewell Concert

Performers and program. 

“prior to her departure for Europe”

Includes program. 

“Miss Anna Bock’s farewell concert last night at Steinway Hall attracted a pretty large audience and passed off with spirit and abundant applause. The performance opened with Schumann’s quintet, Opus 44, for piano, two violins, viola, and violoncello, one of the most charming pieces of chamber music since Beethoven. It was well played by Miss Bock and Messrs. E. Mollenhauer, Schwarz, Matzka, and Bergner—as well perhaps as compositions of this kind are usually interpreted by a chance assemblage even of the best artists. Later Miss Rosburgh sang several airs, Mr. Bergner gave an excellent rendering on the violoncello of Wieniawski’s ‘Legende,’ and Miss Bock played, among other things, Chopin’s Andante spianato and Grande Polonaise in E flat, Opus 22, and Weber’s Sonata No. 2 in A flat. Both these pieces were rather severe tests of the ability of a young girl, and she deserves no little credit for her handling of them. In the Sonata especially we detected something more than mere technical facility. Miss Bock seems to us a player of great promise, who has a quick perception of the poetical meaning of her music and a refined taste. She is going abroad to study under Liszt, and we shall watch her future career with interest.”

“In spite of the stormy weather Miss Anna Bock’s concert, given at Steinway Hall last evening, was quite largely attended. Miss Bock’s public performance last year revealed her as a pianist of remarkable gifts and skill, and, under the continued direction of Prof. Von Inten, she appears to have since made considerable progress toward the perfection as a pianist which mental and physical growth and the influence of great artists abroad will, it is hoped, enable her to attain. In point of technique Miss Bock has hardly anything to learn. No playing could be more vigorous or precise, and no victories over mechanical difficulties appear likely to be won with greater facility. Tone is more a matter of feeling than of touch; that is to say, no particular manner of striking the keys can, in our judgment, by mere contact of flesh and ivory produce the sound which a Rubinstein can evoke; and expression is altogether the fruit of a sensibility which is susceptible of vast development if it is ever possessed by the young, and of the experience which only comes with age. But the player who is so fortunate as to have mastered as a child the mechanism of an art of which few middle-aged artists acquire equal control has every chance, we should say, of winning the highest honors; and therefore it is that Miss Bock departs for Europe with cheering prophecies from all persons interested in music. Yesterday’s entertainment, as mentioned above, attracted a numerous audience, and afforded convincing proof of her rare promise. Her happiest effort was Weber’s sonata in A flat, a work of decided importance, the very reverse of easy, and uncommonly brilliant, and her reading of its four movements was characterized by particular intelligence, by special cleanness of touch and rapidity of execution, and by an endurance to which there seems to be no limit. The ‘Andante Spianato’ prefacing Chopin’s polonaise in A flat was rather wanting in the calm and sustained eloquence its title implies, but the polonaise was satisfactory, and the final piece in the programme—Liszt’s ‘Tarantelle di Bravura’—is to be referred to as another remarkable effort in respect of obstacles overcome. In the opening composition, Schumann’s E flat quintet, Miss Bock’s delivery of the scherzo was a marvelous instance of combined speed and clearness. The interpretation of this fine composition, which is full of poetic and melodious thoughts, and admirably distributed between the piano, two violins, a viola, and a ‘cello, did not, however, meet our hopes, the exactions of chamber music being too numerous to allow it to be taken up once in a while by orchestral musicians, however skilled these gentlemen may be. Miss Bock, who was, of course, warmly and deservedly applauded after each appearance, had the co-operation of Miss Rosburgh, Mr. Mollenhauer, and Mr. Bergner as soloists. Miss Rosburgh’s pleasant, high, and flexible voice may eventually enable her to become a first-rate bravura-songstress; at present her legato is far from smooth, her Italian pronunciation is distressing, and, naturally enough—for the lady is quite young—she needs freedom of style. Miss Rosburgh sang ‘Prendi per me’ from ‘L’Elisire’ and Rode’s ‘Variations.’ Mr. Mollenhauer rendered with a firm bow and a good deal of charm a fantasy of his own and was enthusiastically recalled, and Mr. Bergner performed neatly Wieniawski’s ‘Legends,’ which unfortunately loses its variety when assigned to the ‘cello, and the effect of which was additionally impaired last night by the executant dragging the time of the allegro and not putting on the ‘mute’ as directed in the repetition of the first theme at the conclusion.”

“Last evening Miss Anna Bock gave her farewell concert at Steinway Hall. It rarely happens that an extremely young candidate for musical honors appears who does not appeal more or less to the sympathy and good nature of an audience—either tacitly or explicitly; who doesn’t make the most ambitious attempts, relying in the event of failure, on the kindness and consideration of friends being accorded on the ground of nervousness, inexperience, &c. Miss Bock, however, though honored in the most gratifying manner with the warmest encouragements from her numerous friends, floral offerings, prolonged applause and earnest attention, did not seem to require these special favors, but to rely on her own artistic powers entirely for success with the general audience. She played the piano-forte part of Schumann’s quintet in E flat with the skill and address of a practiced concert performer. The Allegro was taken at full speed, which was kept up without flagging to the end. The forte passages received a full sonorous tone, and the softer parts the suitable expression which was also in keeping with that of the associated parts. The solemn slow movement ‘In modo d’una marcia,’ with its highly agitated and excited Trio, received a most poetical interpretation. The elaborate Scherzo was played extremely fast, and the final Allegro was given with the proper dignified expression. It was almost amusing to see this young woman deliver forcibly the business-like fugal lead in the [illegible].

Chopin’s tranquil Andante Spianato in E flat (opus 22) was played very smoothly, and the succeeding Polonaise in E flat was given equally well, the delicate, ornamental runs were [illegible] with the greatest clearness, and at the same time the tones produced were remarkably light, soft and sweet. The octave passages in unison were not wanting in force and vigor; and in the Coda, where the right hand is engaged with a continuous stream of rapid notes, and the left enters with an emphatic, strongly-defined rhythmic pulse, this latter was brought fully into relief.

Miss Bock’s performances of all the compositions was marked by the greatest technical accuracy, and though it could hardly be expected of her that she should so compliment the composers by committing all these works to memory, yet on being encored she returned and played an original piano-forte piece entitled ‘Lorelei.’

Weber’s Sonata in A flat received a charming interpretation. The eloquent opening phrase was fully enjoyed. The brilliant, animated runs, and the passionate, anti-rhythmic chords, the gracefully waving groups of arpeggio, the wild, stormy crescendos and modulations which finally lead to the climax that precedes the entry of the peroration, were fully appreciated by the audience. The noble and grand Andante, the impetuous, fiery and onward-rushing Presto, and the gracefully flowing, tranquil Rondo were equally well given. Liszt’s brilliant Tarantelle di Bravura (La Muette) terminated the concert.

Miss Bock did not seek to gain the place of honor by being associated with unattractive artists, for she received the valuable co-operation of Miss Ida Rosburgh, whose great abilities have been recorded in this journal, and also Messrs. E. M. Mollenhauer, M. Schwarz, G. Matzka and F. Bergner.”

“A young pianist of this city, who has appeared on a few occasions in public and created after each hearing a highly favorable impression, took leave of her New York admirers last night, having determined upon a prolonged visit to Europe that she may gather fresh inspirations from the teachings of the great virtuosi there. Rain, slush and fog did not prevent a good audience at Steinway Hall, and the musical attractions did not fall below expectation. Schumann’s quintet for piano, two violins, viola and ‘cello, which opened the concert, is one of the master’s works that reveals the more genial phases of his mind and is as bright a little jewel as might deck the diadem of any composer. It is full of quant devices and neat surprises, and distributes its favors equally among the five instruments engaged in its performance. Miss Bock and Messrs. E. Mollenhauer, M. Schwarz, G. Matzka and F. Bergner gave a fine, well marked rendering of it, the instruments seeming to be under the direction of one mind. Miss Bock played Chopin’s Polonaise in E flat, with the preceding Andante, a fatiguing task for young fingers, but one which she accomplished with a degree of success that augurs well for her future career. She also played Weber’s sonata in A flat and Liszt’s transcription of the ‘Tarantella’from ‘Massaniello.’ She has much talent and has been trained in a thorough school. Miss Ida Rosburgh sang an aria from ‘L’Elisir d’Amore’ and Rode’s variations. Her voice is of pyrotechnic order and caldulated for bravura pieces.”