Poznanski Quartette Soiree: 3rd

“The Poznanski quartet soirée at Steck’s Music Hall, last night, was very successful. Two quartets by Mendelssohn and Schumann were played by Messrs. Poznanski, Neuendorf, Burstein [sic], and Liesegang in excellent style.  The other assistant artists were also very good, and the soirée gave much pleasure to the large audience.”

Despite the bad weather, the concert was well attended by a sophisticated audience. The program was attractive almost throughout. Mendelssohn’s quartet was nicely performed. Poznanski, Bernstein, Neuendorf and Liesegang mastered the challenging Schumann quartet in A major [sic] with success. Tamaro sang his songs with much expression and thus received much applause. Kalliwoda, who is the nephew of the conductor of prince “Fürstenberg”, turned out to be a fine pianist. The guitarists Herzog and Wiegand were well received by the audience, though probably more due to the audience’s curiosity than for their accomplishments.

“Mr. J. B. Poznanski gave his third Quartette Soiree, at Steck’s elegant Music Hall, Eighth-st., near Broadway, on Thursday evening, when, notwithstanding the boisterous and inclement state of the weather, quite a large audience was present, attracted by the excellent reputation of the quartette performances. Mendelssohn’s lovely quartette, Opus 12, was the first piece on the programme. Each movement is a rounded beauty, replete of course, with the composer’s delightful mannerisms, but none of the less fascinating on that account. The Canzonetta, and the andante movements are exquisite in thought, sentiment, and expression, and they were executed in a manner worthy of their beauties. The quartette by Schumann, Op. 41, is a masterly work, but it lacks that genuine spontaneity which distinguished the previous work, and in comparison with which it is cold and dry. Still it possesses points whose beauty rescues it from weariness. The adagio is by far the most interesting movement, and this received most thoughtful and expressive treatment from the artists. In the Allegro, the second violin and viola were rather loose in marking the rhythm, and the scherzo was by no means clear or marked in its interpretation. The presto was, however, brilliantly rendered.

The Quintette for piano and strings, by J. N. Hummel, Op. 87, is a sterling composition by an author whose works are too rarely heard in our concerts. Its subjects are melodious, graceful and expressive, and their treatment in amplification, variety and effect, is brilliant and masterly. The Menuetto is a quaint and beautiful movement, and the adagio is full of dignity and sustained expression. The piano part was interpreted by Mr. H. Kalliwoda, a pianist somewhat of the old school in classic severity, and the more welcome on that account, who did it ample justice. He has a clear and precise touch, his reading is intelligent and accurate, and he plays with that integrity of purpose which secures to his author honest treatment by a just interpretation. His performance throughout was eminently satisfactory, lacking only a little abandon in the giving out of the subject of the Largo. The quintette, as a whole, was ably and effectively performed and gave unqualified satisfaction. Messrs. Poznanski, Neuendorf, Bernstein and Liesegang are enthusiastic workers in the cause of the quartette. Mr. Poznanski played admirably throughout; notwithstanding his natural impetuosity, he subdued his emphasis and expression to the limit of true quartette playing, proving himself to be a master of the school. Signor Tamaro assisted, and sang two selections in a pleasing and effective manner. The guitar playing was in exceeding bad taste, and was very poor in execution.”

(…) Kalliwoda is a very efficient and old-school pianist.

(…) Hummel’s composition would have been more appropriate as an opening instead of a finale. The Schumann work was beautifully performed. Poznanski played skillfully as usual, especially in the 3rd movement. Although his virtuosity exceeds the other players, he does not dominate the quartet. Kalliwoda’s piano performance in Hummel’s work was very accurate. Herzog’s guitar playing might be considered skillful, however; we don’t consider the guitar a valuable instrument for “real” music. Tamaro sang with a beautiful tenor voice and excellent French pronunciation.