The New York herald., 1871-02-05
A M q s E M E N rs.

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THIRD PHILHARMONIC CoNcERT.-The programme
last night was indeed unsatisfactory, and was
coldly received by the audience. First, we had a
symphony In ID major by Mozart written for the
charming sorees Of the Prince and Princess Ester
hazy and as much out OF place In the Academy as a
Meissonier cabinet picture would be In the Boston
Coliseum. The score calls only for a small
number OF instruments, and half the Phhar-
monte players were not needed during Its
performance Then came a recitatiye and ro-
manza oy Bergman, written for the bass cla-
rionet anIoutlandlsh looking instrument with which
Mr.. Boehm did not seem to be on terms Of good ac.
quantance, especially In the important item Of
taking breath. The work itself is clever enough,
and the Instrumentation framed out OF such meagre
materials as two caronets and two bassoons Is, TO
say the least of H. Ingenious But Mr.. Boehm, who
mas no equal IN this city as clariOnet player must
make himself more familiar with the bass arrange
ment OF the same name before he can expect 10
please musical ears After Bergmann's piece came
principal merit OF this work Is an ingenious
development or spinning out OF meagre theme
which Is repeated al nduSedn. The workmanship IS
Of lndubitable merit but the materials are scanty.
The quartet for four volincelli, by Lachner seems
to have been placed on the programme for the pur-
pose Of showing That the conductor was formerly
player on that useful and interesting bass instru
ment OF two vlolncelIi, for Bergner and Bergmann
\ had the lion share OF the subject IL Is called o
serenade, and would likely be heard with pleasure
| by one about WISHING the land or dreams; but we
doubt II there Is another orchestra In the world that
would ever dream OF placing it on their programme
| night was the last the bill, an overture by
| Schumann, real gem, and played TO perfection.
| overture, are probably the best specimens OF
| Schumanns usually colorless writing that the New
| York public have been favored with. The Phil
harmonic Society did not reflect credit their ante
cedents inspire confidence in their future by the
bill they presented last night. There was nothing
to relieve the monotonous character OF the works.
no vocalist, pianist or even vlsliuist. Tne bl for
the next concert Is somewhat better. Schumann's
symphony IN nat major Barglel's "Medean over.
ture, and new work, overture, aladdin" by
Reinecke are promised
MARIE KREB's LAST PIANO RECITAL.-A very
interesting bill was presented yesterday at Steinway
Hall by TINS clever young pianist. 1t was the fol-
lowing:-Sonate, opus SO, allegro con brio, adagio
motto, allegretuo moderate, prestssimo Q. Won
Beethoven)-Mss Marie Krebs. Concert arie Men
delssohn-Miss Clotilde Saar. Fugue. A minor u. $.
Bach); Warum (k. Schumann); Toccata, by special
desire (R. Schumann)-Miss Marie Krebs. Rondo,
for two pianos If. Chopin)-Miss Marie Krebs and
Mr.. s. B. Mills. L'Estasi d'amore. waltz IL. Bada,-
MISS Cloulde saar. Don juan iantasle If. Liszt)-
Miss Marie Krebs.
The Beethoven Sonata is the .brlght. particular
starr OF Charles Hale's entire repertoire We have
heard him play 1t when the audience sat breathess
with delight and each note seemed coined in the
crucble OF poetry ITSELF Miss Krebs played it cor
rectly but The delicate nltdnceS expression.
emphasis which IN some of the passages cOmmunI-
cafes such character to II, were wanting. We do
not approve OF her system OF playing everything
from memory. In the case OF Beethoven she PLAYS
only the notes and leaves out dynamlcs. Older and
more cs.ssesA- artists 40 not venture to play
such works In public without the music. Her won
derful execution ls SHOWN to advantage in
| Bach fugue, and she seems perfectly at home
from her spirit and power rarely altanable
by pianists III work OF such magnitude. The ronde
was rendered by her and Mr. Mills admirably, and
sol Inpft ion
the bill LISTS don Juan' fantasia Is one OF the
most difficult works ever written for the piano. It
hardly repayS the trouble OF studying 1t, for its
enormous dhculties are not IN every effective.
It IS too trying on Inc slender fingers OF
caused the outspOken approval OF the composer him
self Is high tribute to ner genius. she does not
play 1t smoothly and correctly oy any means for at
times there were defects even in her execution But
she conqueIs some OF the most terrible difficulties
with al ease and abandon that 10 one so young
twenty years. seems astonishing. The construction
Is on q scale which would lead one to suppose the
work was originally intended for two pianos and
that all the parts were afterwards crowded into
the compass OF ten fingers. Miss KreDs In those
four reoitals has gwen unmlstakabe proofs OF
talent OF very high order, and faults are but
natural for young pianist and may be easily over.
come. AS Tor the vocalist, Miss Saar she was so
terribly afflicted with nervousness that we could
form judgment of her abilities. Her voice, nsw-
ever, seems to be naturally good, and the tone is
pure and equal. On future OCCASION when she
gains more confidence, her hearers Will have a
better opportunity OF passing verdict upon her
singing.
STADT THEArER--'DORF UND STADT. j-Madame
Seebach reappeared Friday evening IN what to eur
taste, is the most graceful winning, natural role Of
her entire reperory thus far disclosed to us in New
Y0rk-the part Of Lorle In Madame Birch
charming comedy Of "Dorf una Stadt"-founded
upon the oveliest Of Auerbach's Dorgeschtchte7 or
'.vlllage Storles,n all Of which are household
words by every hreside in Fatherland,
and by very many, too, in America and
Britain. Lorle Is the fair daughter of
an innkeeper "a man of much consideration In the
Black Forest. She falls desperately in love with
Reinhard. young painter. who had, In previous
years, passed some time under her fathers roof.
he returns after long absence to the "Llnden
Treen tavern to find Lorle, the little girl he had
left full-grown woman and beautiful as sunshine
Her evidences OF love so greatly move him that
although ne nad almost an engagement with a
highborn damsel elsewhere, he marrles her.
and, having received an offical appointment al
go there TO reside where, however her nas,et6.
her quaint country dialect and her peasant
embarrass and mortify Reinhard and, at length,
having met his former love, Ida, the daughter OF
with her and grows inderent 70 his own swee
rustic beauty: Here the plot hinges; poor Lore suf
fers while Ida, too, IS desperate; Reinnard comes
home late and diSSolute; the aged father hears Of all
this trouble and arrives to reclaim his injured
child and take ner back to her forest home.
At the last moment Reinhard, conscience
smltten and still fondly loving, throws himself at
her ieet forswears the CITY, and begs to reaccompany
the Scwarzwad maiden 10 where the leaves
rustic III the old greenwood and the birds
warble their untutOred anthems all day long. ANY
sensitive critic can readily feel how many enchant
ing and powerful situations such pure sweet life-
picture as this would combine Here the great Ger
man 0rtSte was transcendant In a word, we dis
cover that she exces most in her most womanly
characters, and her voice Is fartbest heard when
1t is genuesi. Her imitation of the mountain dia-
lect and manners was simply wonderful and so
quaint aud yet so touching were the little melodies
she sang that the audience scarcely knew whether
TO laugh or to weep with heartfelt pleasure All the
other paris were well sustained and the enthusiasm
or brilliant house was overwhelming.