The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-01-08
A M q s E. E N rs.
Second Philharmonic Concert-Mr. y. u. Mills
AID the Reinecke Overture.

Second Philharmonic C0ncert-1Tr. y. u. Mills
and the Reinecke Overture.
The usual large audience atteudcd the Philhar-
monte Concert at the Academy Of Music on satur-
day night. The renearsals ana concerts OF the
society 10 be regarded by young ladies Of mu-
steal procvItes as school OF Instruction. Tor they
form the majority OF the audiences, ana are the most
attentive during the performance. As on ora
torio lights. scores OF the music are very plepti'
full among the audience. The Philharmonic Society,
therefore, In We nigh mission to per- 0rm and II II
10 be hoped that they viii be equal 10 the task
and keep up the high standard OF merit hitherto
ACCORDED them. The programmes should OCCASION
ally snow something In The way OF novelty. or even
interesting revivas. The orchestral works on Sat
urday, charming as they were. have been PLAYED
mere SO often that the public could readily dispense
with them, Tor one season Of least IN order to near
compositions less known. There were two SYM
phonles-Iia' dns No. Is, In major, and lin
walde." by Kan, and the overture 10 "Euryanthe."
Theodore Thomas mas already made the New York
pubic well acquainted with all three. Rairs work,
which was the avorite at the Central Park Garden
concerts last season, delightful In IT'S freshness
Sna " he ais and warner 81
Inc feature Of lie concert and the only real nov
city this season Was Renecke's plano concerto ~
sharp mac opus ~ which was una gnllcenty
play cd by Mr. s. b. Mills. Although originality In
Ideas docs not form conspicuous attribute OF the
wOrK. YET Is general construction and the varied
treatment Vi those ideas stamp the cOmposer US
man OF remarkable talent, The orchestral and
woven that the piano seems to become an ins;ru.
ment IN the orchestra and yet without losing It's
peculiar pnrusnK, the concerto Will bear comparison
VIA the mosI intricate COMPOSITIONS OF Lisz,, and It
also demands rom the pianist all the grldatOnS or
light aud shade. There are three move nents-l.
Adlag,o IL AaeJro; 2. Adago ma nOn uoppo;
g. AlegrO cdiL bro. There are two subjec IN the
first movement, the ORCHESTRA commencing WITH
one OF them followed by the piano solo, ie eating
the saAe theme The reeds then continue the sub
ect, While tue piano colors II with some 6iatur'G
Passages Oh the hummel order But this subject Is
GUS now. rhls IS given by the plano alone,
and makes lis first appearance IN most
CHARMING attire OF acconpannsn'; 1t a Is
cooied by the plano. Then the strings, alternating
/ with tine reeds, continue 10 work out the suoJect,
and the most beautiful ELECTS OF light and shade are
thrown upon IL by the piano In series Vi bravura
PASSAGES "a Chopin. Here occur some exceed
ingly dlcult passages for the left nand, and rag
mcnlary themes In dialogue ,Orm between the right
hand and the viollns. Alter an orchestral utt Inc
first subject is brought back as piano solo
In MINOR iorn aud Schu mann treatment 1t
returns alter 70 the original major KEY ana makes
way the second suIJect brought IN again oy the
srllngs, with u completely new treatment Dy me
piano. Next we are presented with lew LlsAtlan
uls,nres ana lie subject IL worked 40 both nv tile
piano aud orchestra c'imax, leading Into OF
The most original ana ccveriy constructed cadenzas
we nave ever neard Ia piano concerto. In ms
hlbed in eveV POSSIBLE form ike the shifting
COl0rs of the Kaleidoscope.
OF beauty. IL is IN sx-eight time and IS opened by
a volin 500, followed W some lovely Chopin pas
sages on The piano. Tue viOiOnceo tnen taxes up
the second theme from the piano. over whlcI the
latter throws IA spray OF arpeggio passages. he
piano tlen erufn, To the lrSt subject OF the move
ment, beginning IL with the accOulpan iment OF tyu
pam ana contrabasses ,plAA,cail aione brief
chestro, lew delightful passages oil the Chopin
order from the piano AID the movement comes 10
all end the pian0 and orchestra being IN contrary
mot on for tie last dozen measures
The last movement, "AlegrO con Dro," Is not as
Interesting as either o. It's predecessors IL opens
by tue orchestra, and Is strongly impreynated win
Scnunlnl. a second subject Is introduced Dy the
plano, with those flowing arpeggio passages which
are so charac;erIst or Humnel me Jtitltr was a
storm OF octaves q q List. rhis admirable WORK
found an aoie Interpreter in Mr.. Mills lie brought
pleIc pllrasng, warmth Of artistic smrlt aud Keen
appreciation oi the COMPOSERS IDEAS. aud the noble
grand pianu respoa lei TO MS einol1na ioucn Ike
an opedient spirit at the call OF magician.
| Maclkace rs M0naidi, ut tho st. James.
Those who have known Mr. Macxaye through his
remarkable lectures OH dramatic exp preston nave
looked forward with no small interest TO appear
ancc Oh The ssaSe as an Interpreter OF human emo
lions. some time past curiosity was awakened
by an announcement that mir. MacKayt
was about to appear as Monaldl In new play aDou
Which little or nothing was KNOWN though 1t wa
ma, urally surlniscd tnat 1t had been written ex
prcssly TO give scope to MI MacSaye's peculial
preliminary performance to a select few, amons
whom were most OF the theatrical critics. A
thus noar we cannot attempt even 10 give
slight outline OF the plot; suffice IL u
say mat ~ appears 10 nave Deen constructed
not so much WIN view TO logical connection an(
unity as 10 afford Mr.. Mackaye an opportunity o.
exnloillny his power OIL pOrtraylDg c.rtain l0rIni
vi human emotion. Tie Story Is slnpie am can lal
no CLAIMS 10 originality either IN conception or tns
manner OF workins out the denouement. On tn'
contrary, indeSa, we ind traces OF familiar though
Continually occurring wnlch suggest some
tning OF literary patcn WORK. Following
introduced 10 relieve tne more narrowing pats o
the pot, bu to our mlnd The coined u the heavies
part o the performance. some Otnsr line we 81 all
review the pay at length. For the present We con
serious de,ects. though the general sentiment ant
mural are such as to entiile II TO the nignes
praise. IN tue portrayal OF the deeper emo
tons .r MacKaye equaled our highest ex
mpOr quality oil the actor, the easy presentation
oil tfres Nj. MacKaye seemed wanting No douD
his new ness To TIE boards was Gle cause OF ces-
tam weakness and indecsion II the repose III part
thai considerably ed the general e1ect or
most mcrturious representation. In point o
voice also the new actor Is wanting
intense feeling that his features aclulr,
sunicient expressiveness and olllGy. In spite o
these little shortcomings we Predict success 10 ait
Mac.ayes eforts ~ Interest Inc pe0p.e IN the re
Mackaye's puplls-apDears vs. the heroine, ana gives
anu deep .womanly ieellpg tnas there Cal
, petc triumph In ncr newly-allot.ed~ profession
| We would recommend these VINO desire to see
some really powerful and touching acting to visL
| Monadi as soon as possible. In q low days We viii
rcurn 10 THIS subject and give II the consideration
| TO which Its laerits entItie ".
| UVglgAG AVN Tul ArRrNaY NnTCc