The New York herald., 1868-05-24
The New York Musical Festival.
MATINEE.


Again change in the weather, which has been in
dulging in the most extraordinary freaks this month
Yesterday the streets had forbiddmg aspect and
few cared about places Of amusement. Yet in spite
OF the drizzling rain good sized audience, large
proportion being ladies' cOngregated at Stelnway
Hall at the only matinee of the grand festival. Those
who attepred were regaed with choice feast OF
music. The sooists were Madame Parepa-R Rosa,
who sang the scena and aria "Sweet Spirit,n from
Lurline, and a song by Mlard in her own unrivaled
style, receiving an encore after each; Mr.. Wenzel
Kopta, violin, whose execution of the beautiful
"Midsummer Nights Dream" like concerto in mi
nor by Mendessohn and Paganni's "Di Tanti-
Papiti, "was sans reroche and entitled to the highest
praise; Messrs g. W. Colby and Pease, on the piano,
and Mr.. Bartlett, baritone. The concert commenced
with Schuberts posthumous symphony, Of which we
have spoken at length before. The novelty of the
entire bill the overture to the Oratoro Of "St
John the Baptist" by George W. Morgan, which was
heard for the second time in America. II is difficult
to form comprehensive opinion of this work with.
out hearing the 0ratOrO with which ii Is necessarily
connected 10y rrefragibe bonds Yet it gives very
favorable idea OF the oratoriO itself and testiies to
the high degree Of artistic excellence the part Of
the composer. The overture opens with solemn
adagiO theme which permeates the entire work
and which s supposed 10 represent the Precursor"
This melody Is admirably suited to represent the idea
OF great prophet The second movement, andante,
Is taken from duet in the OratOriO "And lie snail
gather wheat" and forms pleasing coda to its pre-
decessOr The allegro following describes the trials
and prosecutions To which the Baptist subjected,
and is ceverly worked up TO the climax Of his mar
yrdom breaking of in an abrupt crash of the entire
orchestra. The succeeding chorus represents the
triumph and reward of the Just man, ana gradually
mets away into a beautiful, plantve 1nale express
siye OF death and peace for evermore. 1t is work
of considerable merit, and II shorn somewhat OF its
dimensions IL would be welcome visitor to the con-
cert hail. Mr. Colby played the organ part with taste,
and the composer conducted the orchestra in en-
trely satisfactory manner. Such an artist and
ganst should he heard more frequently, both as an
eXecutant and composer
EVENING
No concert has been previously gwen in steinway
Hall equal to that OF last night. The programme
speaks for itself-Orchestra, introduction to third
act Of "Medea,n Ritters symphony, "wellingtons
Victory" with full military band and drum CORDS by
Beethoven; Seventh regiment band, overture to "Se
miramide" and selection from "RObert lie Diable;r
piano. the Henselt concerto played by J. N. Pat
tison; the "Marseaise," sung by Hill; two solos, by
Rossini and Holman, beautifully sung by Mrs. Jenny
Kempton, and the opening aria of the ''Mserere-
scene from the "Trovatore," sung in superb STYLE
with orchestral accompaniment, by Mrs. Marie
Abbott. OF all these pieces may select three for
special remark-namely, the Henselt concerto the
symphony and the Marseillase. We heard Mr.
Pattson last night play this work for the second
time and must say, for the sake OF justice, that we
do not remember hearing artist In steinway Hall
-
The concerto is enormously dinlcut and requires
wrists and fingers Of iron for its mere
technical difficulties and fire and passion
for effective rendering. The introduc-
ton by the orchestra resembles Mendessohn
in its poetical flow Of thought, and the manner in
which the piano is introduced is very peculiar. An
mpetuous outburst OF some four measures on the
piano breaks In abruptly on the Mendelssohnian
strains OF the orchestra and is followed by melody
which catches the ear at once. This theme is woven
into passages Of thirds fourths and sixths combined
for one and two hands, which form rich frame for
it and are like briants In q diadem. There is one
feature about the entire concerto which distinguishes
1t particularly from all others. The piano is not made
part Of the orchestra, but the latter without losing
its Characteristic efficiency, is made subservient to
the piano. The piano is the speaker on the occasOn
the orchestra is the asserting audience Hence the
greater demand on the powers of the pianist than In
any Of the concertos Of Chopin, List, Beethoven
Mendelss0hn. There Is, within our experience no
work written for the piano and orchestra broader
and more trying scale for the pianist than this Hen
set concerto The second movement tdrQltettO, Ia
one Of the most beautiful works for the piano
that can be brought into the concert hail.
An interesting, yet simple unpretending theme Is
worked up with spray Of harp-ike accOmpani-
ments and strongly chorded passages, so that 1t be-
comes thing of beauty" rhe finale OF this move
ment is delicious In its ever varying outlines, like
beautiful picture on which the shifting sunbeams
fall. The last movement, allegro agatO, Is bold,
comprehensive conception OF the trials and perpexi
ties Of the human mind when thrown into the battle
OF e and the hearer feels relieved when the fingers
OF into joyous, popular strain, where the liquid
notes OF the grand piano chime strangely, yet
pleasingly, with the plaintive tones OF the
yiolonceuo. The climax Ia at length reached