New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1853-01-04
EisfeId,s Classical Quartette Soiree.


A rainy, inclement night sadly interfered
with Mr.. Theodore Eisfelds Quartette Soiree, Of
Monday, January 3. The room, which, under better
auspices, would have been full was only partially
stocked Klaus valde defendus for such an enter
tainment is designed to instruct not simply amuse.
lively recollection of the hard tasks Of childhood the
six to twelve hours study day; the forced lessons
and re, al i've forfciures make the adult world seek
amusement He is the cleverest fellow who can SOW
broadcast the most fun buTesque humor, or art Of
certain kind, not he who announces radical truths
grand economics transcen liant systems, or high art.
The auditory, therefore of Mr. Eisheds parties must
be limited The number of persons who take interest
in the scientific conversations of our-strnged instru
ments cannot be many now, whatever 1t may be in
time to come But ii is something that such scheme
is fairly noted by the public 1t shows many steps in
advance OF few years back.
The first piece of the Programme was by onslow.
This composer is known to Cognoscenh but little to
the public lie was born In l74 His father was the
second son of Lord Onsow. He first studied music
ne a Centlemanlike accomplishment. lie learned IL
mechanically and remained nsensble TO the value OF
Don Juan and Zauberhote but the overture TO Strd-
tcnioe by Mehul reused him, he Gays in these
words In hearing this piece experienced emotions
20 deep in my soul that perceived myself penetrated
in O manner utterly new TO me even now that NOM
ent is new to me. Then saw music with other eyes
the veil which hid lie beauties torn aside 1t be-
came the source of my most intimate delight and the
faithful companion fmy life"
In not being primarily reused by Mozarts music,
Onslow is not singular Often have witnessed that
music l almost Quite deed the public ear-have
known the greatest singers even Giuetta Grisi, the
chief Lyrical trsgedian, not prefer it-and another
preemineut canta;rice say This cursed Mozart = SO
all nusis does not strike the gifted in the same
way. and a deal must be allowed to temperament.
Onslow went through laborous studies, and finally be-
came Classical quartete writer his skill and science
are due to Reichs the greatest teacher Of musical
complexities that ever lived The science Of Onslow
does not compensate for the want OF lively iniagina-
ton and lyrical warmth. They are mere words ex'
cep, to musicians for there is such thing as must
cal idea though II is impossible TO describe II Is TO
write our the day dreams Of loving youth
onslow takes his original idea develops at length
and shows himself master but yet a certain divine
passion is wanting to him The Quartette by him last
night Il certainly one Of bis most fluent efforts. We
have little theory Of own, that the superior as
sumption OF the purity classicality and so forth OF
Qusr,ete music is in great degree owing TO the d.
dsctic nature Of many musicsl minds that can sym
pahse with cool dshberac, scientific points, and need
the eestacy to grasp the heroiss and orgasms OF ORA
matte music The best music, TO apprehension, Is
dramatic and all music i Inferior il wants that ele-
Inent Onslow tried his genius the rarer and more
complex matter Of operswriting Several OF his
works were put the Partisan lyrical stage, snd all
failed His invention therefore il confined TO chamber.
music.
The second piece on the lst was MHs'reFs Lore
Song by Guufert, nicely rendered by Madame seden-
berg, and encored warmly.
Number three a Trio of Mendelssohn-Bartholdy
for Piano, Violin, and Viooncello One OF the worst
combr atoms in music is such junction. The piano
by reclamation has been exclueed from an or
chestrs, il is an imperfect instrument. The nice
shadings Of the haftones theindispuiAby ma.hemAcA
and lyrical differences between the dat and the shArp
are huggermuggered under the grand theory OF tenn
permanent In addition to that it has no continuity Oh
tone beyond the pedal and swell shading ai'er
the expression Of the incpen, note. Owing TO seven
octaves and the vast superiority Of modern manuisc
lures, the splendid superievelopmens Of Humme-
Czeruy Thalberg and Lstz of is resources over the
pianism which marks the works Of Haydn and Nozar'
the piano alone has become magnihcen, instrument
II does too for accompaniment, simply to another
instrument and to the voice But i; Is a. coorcinA;e
coequal effect with portion Of the strnsed quafaie
failure There is rule in music that the harmony Of
voices mus; be perfectly independent Of any ins.fa-
nents accompanying them No composer who UNDER
stands his business viii violate this cAnon The eAns
BILE relations OF the violin family such, thai nc hai
mony that the crisp expression piano makes can
Ill them up. Notrio, properly speaking can DC
out Of the material played last night The tresh Al,
brilliant finger Of Mr.. Richard Hoffman, was lntsre'e"
With nv The violin and yiolincelo
So too by the same mesahance, the reh saosiA.A :.
the viola and second violin were wanting. A. NsH1
the composition Of Mendelssshn, nothing remains V
be said to bis mastery rhetoric and eomonA''
He t. a. 10 truly observed by the best critic IN
Fstis) master Of details. bat he has failed 70 e'eie
style" 1t Is all in vain to dignity his APrsnons i0'
| eonsu,nmstely carved melody with the epnhees