Descriptive analysis of Goldbeck’s piano trio in A-flat.

“Mr. Robert Goldbeck, the pianist and composer, returning to New-York as a visitor after a long residence at the West, gave a concert last night at Steinway Hall, before a large audience of friends and admirers. The programme consisted, with one exception, entirely of his own works, and was intended to display his ability as a composer rather than his skill as an executant, for he gave himself only one piano solo, a brilliant and effective Polonaise, with a still more dashing dance tune to follow as an encore. Miss Beebe sang a tender and sorrowful song of his entitled ‘Invocation;’ the other specimens of his work were three part songs and two pieces of instrumental chamber music. Two of the songs, ‘The Three Fishers,’ and ‘The Sands o’ Dee,’ are well known here through the interpretations of Messrs. Bush, Rockwood, Beckett, and Aiken. These gentlemen sang them again for us last night, ‘The Three Fishers’ being redemanded. The other song was a quintet with piano accompaniment, ‘Whence comes it that thou art so sad,’ rendered by Misses Beebe and Finch and Messrs. Nilsen, Beckett, and Aiken. In the treatment of the voices and the development of the harmony it is very happy, and we distinguish in it also a strong poetical impulse. The somber coloring, however, gives it rather too strong a resemblance to the settings of Kingsley’s two poems and indeed a sameness in the vocal pieces was the great blemish in the programme. But the instrumental selections offered a strong contrast to the melancholy of the songs, for they were both vivacious and varied. The first was a trio for piano, violin, and violoncello, played by Messrs. Goldbeck, Brandt, and Bergner; the second a Quintet, in which the same players were reinforced by Messrs. Schwartz (viola) and Bartels (double bass). Both show the handiwork of a good scholar and the inspiration of a man of taste and fancy. In the Trio, owing in part, but not we should think entirely, to a defect in the execution, the piano was too conspicuous. In the Quintet, however, the balance of the instruments was well preserved, and this was the best number on the programme.

Mrs. W. N. Oliver, the only performer of the evening who went beyond the works of Mr. Goldbeck for her selections, sang an Italian aria, and for a recall an English song. She has a pure and clear soprano voice, of excellent range and compass, and with a little more of the [illegible] and composure to be acquired by practice she will make an effective concert singer.”

“Mr. Robert Goldbeck, who was well known here as a composer and pianist a few years since, last evening gave a recital of several of his works at Steinway Hall. It would have been judicious, in our opinion, to have varied the programme by the introduction of a few other compositions, for the entertainment was a little uniform; Mr. Goldbeck, however, appears to have had sufficient confidence in the variety of his achievements to avoid drawing from other sources, and as the audience was quite large and liberal in its applause, he doubtless did not regret his determination. Mr. Goldbeck’s instrumental works impressed us most favorably. The second movement of a trio for piano, violin, and violoncello, with which the programme commenced—a large appassionato—was quite worthy its name in point of thought, and very skillfully treated, and two movements of a quintet—an allegro con brio and an andante quasi allegretto—very melodious, and developed with clearness and fullness, are to be mentioned as particularly strong proofs of the writer’s imagination, ingenuity, and science. Mr. Goldbeck’s piano solo was better fitted to set forth the player’s school and his command of all known embellishments than to afford evidence of the composer’s wealth of ideas or of the instrument’s limited power of expression. The gentleman’s vocal music was not at all satisfactory; two lugubrious part-songs and a quintet were cleverly harmonized, but revealed no other excellences; one of the former selections, ‘The Three Fishers,’ sounded the more meaningless because the text has been made familiar by what can almost be considered a standard setting. As a pianist, Mr. Goldbeck merits warm praise for precision, brilliancy, fluency, and vigor, which we would gladly see asserted through more effective media than his own compositions.”

“The concert given last evening at Steinway Hall drew together a large concourse of musicians, and of the personal friends of the composer. Mr. Goldbeck was welcomed with an enthusiasm which made it very clear that his long absence from the city had not diminished the esteem in which he was so generally and deservedly held nor caused him to be forgotten. The programme was like the occasion itself a personal one.

It was natural to suppose that an audience gathered together from esteem for the man would desire to listen to his compositions, and in this view it was well that it was made up of his works. But this did not have the effect of making it monotonous, and this was one of the highest evidences that Mr. Goldbeck could have furnished of his versatility and mastery over the various forms of his art.

The concert commenced with a trio for violin, violoncello, and piano. No trio was ever heard to advantage in this large hall. Even Rubinstein, Wieniawski, and Bergner, when they played together, failed to make them effective there. The aroma and delicacy are lost in so large a space. But nevertheless this trio showed how completely its author is a master of musical forms, and with what ingenuity, fertility of invention, and imagination he can set forth his ideas. The rest of the programme consisted of part songs for male and mixed voices, compositions for piano, a song for soprano, and a quintette for piano and strings.

All of these displayed the same qualities of imagination and skillful construction which have won for their author so high a rank among the composers of the present day. It is a pleasure to know that there is reason to hope that Mr. Goldbeck may at some not far-distant day return to make this city his permanent home.”

“The concert of Mr. Robert Goldbeck, an eminent pianist and composer, whose labors in the cause of music in this country have been remarkably successful, took place at Steinway Hall last night before a very large house. The bénéficiare was assisted by [see above].

The programme was mainly composed of selections from the works of Mr. Goldbeck, and certainly no stronger tests could be given of the composer’s talents than the elaborate trio for piano, violin and violoncello, the instrumental quintets, the part songs and the solos. The part songs were the most attractive of all, consisting of two poems by Charles Kingsley, illustrated by very charming music. The touching story of ‘The Three Fishers’ could scarcely be in more eloquent terms. Mrs. Oliver and Miss Beebe were received with the most enthusiastic marks of popular favor. The concert was an artistic success worthy of the fame of the bénéficiare.”

“The concert given by Mr. Robert Goldbeck at Steinway Hall last Friday evening was the means of attracting a large audience of his pupils and friends. His vocal compositions to Kingsley’s ‘Three Fishers’ and ‘The Sands o’Dee,’ which have been frequently heard here, were on this occasion particularly well sung by Messrs. Bush, Rockwood, Beckett and Aitken. His new song, ‘Invocation,’ which was sung most artistically by Miss Beebe, was greatly admired. Mrs. Oliver contributed an Italian aria by Salvator Rosa, and delivered it so well that she was encored, and then sang an English song, which was also welcomed. The most important pieces on the programme were, however, the piano-forte trio and quintet, which we have already reviewed in these columns. They were performed most satisfactorily by the stringed instrument performers and especially by Mr. Ch. Bartels, whose refined tone and finished style of execution on the double bass were specially noticed. Mr. Goldbeck also greatly distinguished himself, playing his works con amore and with the natural enthusiasm of a composer.”