Morning journal and courier. [volume] (New Haven [Conn.]) 1848-1894, 1885-03-04
rHE rHomAs ooNoERr.

Brilliant Conclusion Last Evening of
the Series or Musical Treats Mr.
Baermann,s Contributions.
The last of the series of subscription con-
certs under the management of the New
Haven Concert association took place last
night at Carll's Opera House. The audience
was again numerous and consisted of the
lovers of music of this city and surrounding
places.
The first number of the programme was
Mendelssohn's Symphony in A minor, op. So,
called ttScotch." It has received this name
because it is said that it was composed by
Mendelssohn while he was in Scotland and
because he has interviewer in it some Scotch
airs. It begins with Andante Con Motto
in A minor. In comparing this with the
grandeur of the introductions of some OF
Beethovens symphonies we find this light.
While it would be perfectly suitable as an
introduction to concerto or to compost
ton of milder order it does not meet our
expectations as beginning of a symphony.
The Allegro in 6-s time appears to be the
popular st. Patrick's day in the minor mood
and is worked up by a masters
hand. The Sherzo Vivace non Trop-
and It's treatment is such that it causes
feeling of merriment in the listener. 1t car
ries us to the highlands and exhibits to us
the simple habits of its inhabitants. The
Adagio is most beautiful picture of drama
| tic power and is the browning move ~
the symphony The Allegro ", voo;ss.;,,,o IN y,
u IL u anu "a n-e, smack of Scotch lays is
TpU ~ Deeon wearisome on account of the
con'-n' ii minor key contained therein. This
L r"
| account of the popular element therein, yet
| We must say that it is deficient in strength
! and grandeur and therefore below the stand
ard of other works of that nature. Theodore
Thomas orchestra rendered il With fire and
| expression.
followed next Amongst the many piano
concertos by different composers this work
| stands as emperor" in form, depth Of com
1 position, in the relation which the piano as
sumes towards the orchestra; in symphonic
tendency and especially in poetical thoughts.
| Although it did not receive tie term 'sEm-
/ peror' from Beethoven, the musical world
4 has bestowed this name upon it on account
of its acknowledged supremacy. To Mr.
! Carl BSermann had been assigned the task of
Interpreting the difficult part of the pianist.
This was done on account of the
F<Eptation he had gained a
true expounder of the Beethoven style,
and we must confess that the hopes of ali
were fully gratifed. In the first cadence
when HIS fingers touched the ivory keys it
| seemed as if he was animated by the spirit
| Of the great composer. A breathless still
| ness overcame ALL and all eyes and ears felt
| the magic spell. After a long Tutti of the
| orchestra Mr.. Bsermann with a delightful
smooth Legetc passage and bell-like trill be-
! gan the theme of the concerto with fervor
proclaiming the true musician. He display
| ed a faultless technique with an evenness of
tone and phrasing of marvellous beauty
| The lovely srebss4ues dropped like fresh
| flowers ffcsn his magic fingers until he at
tackled group of octaves with the peculiar
Beethoven sforzando, which were fol-
emia staes.toa This 9 GEfhcuff groups work Gl
extended through a. vortex of tones and
| chords in concertante with the orchestra. It
| would require too much space to fully de-
scribe the wonderful performance which
quirss q faultless degree of touch
for it's tuneful triplets and the
most distincts clearness and repose
to render them tenderly. Tho playing
of this Adagio by Mr.. Barmann was a revel-
alton TO all and the sweet, clear tones he pro-
duced mingled we'll with the strings 1t led
the audience to thoughts of prayer
until the horns broke the revery by giving
the signal for the Rondo. In this the humor-
Gus element shines forth, and by the vivacity
and elegance OF his rendering of this lively,
sparkling movement Mr.. Ba4rmann exhibited
his unlimited grace and the pleasure he him
self felt in interpreting this Rondo. Great
skill and expression are demanded on the
part of the performer to bring out the true
life of the composition when the piano,
80 to speak, whirls around the Or
chestra. The alternate playing of chro-
matte scales between the right and
left hands occasioned much merriment
AT the conclusion of his severe work Mr..
Bermann was rapturously applauded.
The second part of the programme en-
bracad only works of the modern school,
namely, Overture Tie CARNIVAL Roman" by
Berlioz, and prelude and minuet by Rein
hold for string orchestra, which brought out
the cultured resources of Thomas orchestra.
Mr.. Bermann then played Nocturne in
fiat by Field and Hungarian Rhapsodie No.
IL by List, herein exhibiting his powers in
the emotional and brilliant style, and again
gave his listeners unbounded pleasure by his
superb performance.
The programme closed with Wagners Ride
of the Valkyries, a composition of most
fanciful nature. 1t was played by the
chestra with great force and spirit.
This was the last of the series of the con-
certs for this season. Their success has
been astonishing and reflects great credit on
the culture of our population. While we
thank the managers for what they have done
SO far, we hope that they will be induced
hereafter. M. s.