Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1881-05-20
TIE MENDELs soHN oUINrErTE CON.
CERT

The Mendelssohn Quintet Club, of Boston,
gave concert at the Congregational Church
last evening, being brought here through the
personal exertions of w. G. Lewis, and the
response of many citizens to his efforts. The
result was treat for the music-loving public
which it will never forget. The audience
assembled was very large, and one of the
best of which this community can boast. 1t
was critical, discriminating, fair Judging and
enthusiastic auditory. and proved once more
that the music taste in this community
is of high order, and does not
fail to respond to the production of
the classical, and the appeal of masters,
in music, and that its appreciation is of the
keenest for the genuine in art. The concert
was q notable one because of the high ex.
cellencs of the performances. The hearers
were not disappointed, except il was in the
extreme of pleasure experienced beyond the
limitof expectation, and to this there was
but a solitary exception, and that in the case
of Marie Nellini, the soprano of the troupe,
who, in the air from BEL Raggio'' was
mastery brilliant and won the heartiest
recognition of her unquestioned ability, but
who. in the second part, in "Oh, Loving
Heart" and "Dar5y and JOAN" dampened
the expectations excited by her first per-
Torrance. The gems of the programme of
ten numbers were four, but this without any
intended Disagreement of the remainder
The quartet, "The Miller's Pretty Daugh-
ter" given with four violins and violon-
cello, was the first of these. Part "a" the
" Declaration" was a performances of great
beauty, and almost absolute perfection, and
received that deep, pronounced and critical
applause which testifes only to merit. 1t
was Instrumentation of that character which
satisfies the most exacting and challenges the
criticism of the severest judgment The violin
solo by Schnitzler proved him to be an artist
Hungarian Airs" and for an encore
:" Andante, by Leonard. The next gem was
Romance for Clarionet, played by Ryan,
a performance of fine melodic grace and
thoroughly artistic in character. For an encore
he gave a ''Rondo of his own composition.
The next gem was the solo for the violon-
cello, lie Desir," played by Frederick
Giese. 1t probably divided the audience in
opinion as to what was the most meritorious
number of the evening, but the majority
must have decided this to have been the chief
performance. No one of the troupe reaches
the higher possibilities on any other instru-
ment which this player attains on the violon-
cello. His playing evidenced exquisite must
cal instinct-his instrument under his touch
was pleading, sobbing, speaking thing, NOV
ing by the deep pathos of its utterance. The
performance reached an altitude of excellence
much superior to any other attempt during
the evening. For an encore he gave Moment
Musicale" by Franz Schubert Instead of the
quartet marked for the second part there
was substituted the Minuet," By Boccher.
ini, in which five instruments took part. 1t
was performance of exquisite charms. In
the last number of the programme the flute
and clarionet were introduced in Beethovens
" March from the Ruins of Athens, and thus
the .evening closed, as it opened, with an in
quintet. The only other number
was flute solo. by Schade. which COM
manded an encore, when he gave Polk
Caprice. The regular classification Of the
of this troupe is thus given
Isador Sehnitzler, violin; Ernst Thiele, vio-
lin; Thomas Ryan, clarionet and viola;
William Shade, flute and viola /; Frederick
Giese yiolonceIlo