Mason-Thomas Chamber Music Soirée: 1st

“Messrs. Mason & Thomas announce the following prospectus for their Soirées of Chamber Music: [provides programs for the six soirees].”

H. Reyer on 2nd viola.  “It was well to commence with Mozart. If his works should ever be swept from our memory by the ravages of time, his quartettes for stringed instruments will stay there longest; for the grace, the finish, the purity of sentiment and thought, the beautiful classical form, which distinguish them cannot fail to be forever a source of pleasure and study to the musicians as well as the public at large. [This] quartette Mozart composed at a period of his life, when all his faculties were well developed, and his intellect as well as his artistic skill were fully ripened. Every movement shows the self-consciousness of strength, which characterizes almost every work of Mozart written at that time. There is an abundance of vigorous thoughts, of fine traits of manly feeling spread throughout the work, which is of an irresistible attractiveness. The quartette was superbly played, but still more did the artists distinguish themselves in the rendering of Beethoven’s Quintette, one of the earlier works of the great master, but by no means void of the traits of individuality, which characterizes nearly every work by this composer, even those, which he wrote in his boyhood.

A highly interesting feature of the concert was the finished performance of Schumann’s Sonata in F sharp minor by Mr. William Mason. This work is not much known, and we believe, has never before been played here in public. It belongs to that period of his life to which we owe the best pianoforte-compositions he wrote. More melody, more real originality, more boldness of thought and execution, more fancy and depth, he has never shown in this sonata, as well as in many other pieces written by him at that time. Of course, many objections may be raised against this work (published at first under the title: ‘Pianoforte-Sonata: Clara, dedicated by Florestan and Eusibius.’) on the ground of its wanting in unity and finish of form. Schumann at that time was not a master of his art, but the powers of his genius were unbroken and urged by the love of her, who was then always present in his thoughts, and more so, than ever, when he composed this sonata, he has given to the world a love story, such has never been told in more tender and passionate strains by any tone-poet. It was a treat, to hear this story repeated on the beautiful [Steinway] Grand used by Mr. Mason on this occasion.”