New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1885-11-13
MUSIC.
THE THOMAS POPULAR CONCERTS.

THE THOMAS POPULAR CONCERTS
The difference between an afternoon Popular and
concert of the Young Peoples series shown yes
terday at Mr.. Thomass fourth in the Academy
OF Music. The programme somewhat try ing even
TO the confirmed c0ncrrt-goer, though not wanting in
elghttul elements. Its composition follows;
sy%pe2TPS e n Lord H?G y SS aSsSSyss
Miss Marie Van
Concerto for PlanoOrte. No 3, nat op. 20
Mr.. Richard Hoffman.
""aldweOen,' IRON = SIC iied '...........W wagner
Song La Fleur du Foyer -, :" recommendation d
Selections" Dsnpation Of Faust o........ .Berior
panls sG a. sy5 q Ra hs villa %stes
The performance OF the band was less brilliant
than on Tuesday evening circumstance which i.
exDlicable en- two grounds-irst, WEAKNESS from an
exceedingly irving weeks work, and second. tie
operation of tho rule according to which the festive
spirit OF an evening audience /, essential sIimulant
to the players. The attendance numerous and the
music was heard With rapt attention but there was
little warmth eitler on the stage in the audience
room.
The solo Numbers were the only novel ones IN the
scheme Miss Van made her bow TO metropolitan
audience at one of Mr.. Van der Suckers Novelty
Concerts last Sprin On that occasion on yester.
day. she had to combat natural apathy toward the
music chosen for her. aud to realize throughout her
performance that there little sympathy ielt
for the selection. The setting OF the f"eny.third
Psalm which Mr.. Mackenzie injected into the middle
of his erotic oratorio The Rose of sharon is
ceedlngly mOnCtonous composition in spite of the
rraceness and ingenuity of it, scoring II drags its
sweet length along without single variation OF sent.
meut from end to end and il il were longer IL would
be a sure provocative OF musical blne-deyIs Miss
Van took the time much faster than the composer
conceived it according to the metronome mark, and
though she sang 1t 100 last the eeet Has geei man
IT would have been had she followed Mr.. Mackenle's
indication. We not imagine any other than an
English festival audience imlclled in equal propor'
tons by religious devotion ana artistic impulses,
sitting out this air sung the rate OF iuty-elght
crochets to the minute. Yet this Il what Mr.
Mackenzie wants Aside from this question OF time.
which thus resolves itself into que 'tlon OF taste and
an objection which exactng critics might urge TO tie
lady's manner of emitting her high notes, nothing but
commentator ought 10 be spoken of Miss ans sing
ing Her voice OF lovely quality, AMI her iate
aud feeling, manifested III the French sosS
especially. delightfully."- correct.
The concerto of VI. Sa.nt-Saens was heard for tho
first time III this city. Though ITS tlst Movement -
quite extended. both 1t and the short nidde move
Icnt leave he impression OF being but preparatory To
the che business OF the piece which lies III the hnale
This Is a remarkably spirited con position aHd une
example of the absolute mastery which The french
musician has over all the elements OF composition.
Tho burden of the Andante lies in the orchestra.
and the short movement breathes poctical spril aad
leads most effectively from the somewhat TRIVIAL hrst
movement, in which there L. singular blending 81
broad and passionate recItatiNe melody WIN an afch
and pouant strain of characteristic dance flavor into
the brilliant finale. The concerto ~ a Whole II Lot
the kind of music in which Mr.. Holman's abilities are
most rcSplendent. and he was not always mp 10 tno
requirements OF the in the matter OF technical
accuracy and power His reading. TOR insight INTO
the composers intention and pcr>pcuity OF reproduc,
ton was all that could be desired Being recalled
after the concerto lac played one OF Schubers
Moments Musicals 80. Op. 81 in A'tai)
exclusively.