New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1881-02-05
NrSIU AND THE DRAMA.
prooEIYN PHILHARMONIC REHEARSAL

BPOOKLNN PHILHARMONIC REHEARSAL"
prrIu, thls season the Brooklyn Philharmonic
S.rirtr yves two pubic rehearsal, before each COLI
cert Whon rs is the ca, of the approaching fourth
colcrrt the prOgrammc calls for the help of the
ch.rrI which has been or 1n he TO cooperate with
tlc ,rcrr>fra the first rehearsal Is marked by rhc
,o;roluction of a new feature usually a solo p'rfor-
nance as a substitute for the choral part. This
u largely owing to the great Il iiculty of securing
the atcnllnC0 of the tenor and bass singers in
the afternoon. O.her considerations OF musical
variety hayo also had their weight in bringing
about the arrangement which thus far has proved
popular.
The programme of tho fourth concert Is composed
Of two pieces. the canttta " Fin frSte Berg by
Bach with tho instrumental parts ampllicd by Mr..
Thomas and Becthnvcn's Ninth Symphony. The
great prepOnGerance OF vocal music in these two
works m de It necessary that at the first public
hparsal which given s'crlay ut the Academy OF
Music in b Ooklyn. the pro !ramme should be sub
stantially that OF an extra concert in the course.
Maurice Drnrrmont. the young violin player, ap-
pearrd rs the sOlOiSt of the afternoon, aud
the three instrumental movements of the Beethoven
symphony were supplemented by he " Waidweben"
from WagucI's Segfried." and two movements
from Spohr'S SYMPHONY Tile Conservation of
sounds" the last music of an antiquat"d pattern
but full of beauty aud always acceptable to the ma
iorlty of people who come ont to an afternoon con-
c,rt The wonderful boy from Brazil played the
violin concerto by McnGclssohn. accompanied by the
orche stra. and also Sarasate's transcription or II
uocturne bv Chopin, i'll response to recall
He had played both pieces Thursday afternoon aud
will play them again tonight ut the concert OF the
symphony Society. These three occasions will
probabv fix the standard by which his talent and
ACCOMPLISHMENTS are to be measured in the near
nture. Whether the performance of the concerto
Will add to his prestige In the estimate of those who
had already heard HIM in other compositions may
be questioned. 1t is the composition which the
majority of violin players choose to exhibit thei
powcrs and though it is by no means so good test
of tho PLAYERS musical character the less popular
Beethoven concerto IL IL nevertheless an excellent
medium for the determination OF his taste and the
dignity of his musical sentiment. The young
yiollnist found it an easy task to captIvate the
BrOoklyn auditors with the sm0OthneSs and grace
of ms playing after he had charmed them with his
he flushed his work he had scores o
ladies' on their feet that they might the better see
| and hear him. His reading of the work was senti
mental, and, aside FROM the technical exccllence o
! the bOwInR and lingering aud the beauty OF TIT
tone srlkngOny III its excessive use OF the snake.
| trait that is manifestly COPIED from the trenci
| school in which he rs trained.
The orchestral numbers were played with rar
| beauty Of tone and expression, and each one wa
| received with applause The audience crowded tn
| house TO the topmOst seats of the gallery.