Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1890-05-21
A SUPERB PROGRAMME.

Review of tho Second Grand Concert by the
Mozart Club md the Boston Symphony
Orchesfrn-Au Admirable Interpretation
of Great Works.
THE second great concert by the Mozart Club
and the Boston Symphony Orchestra last
night drew another representative audience that
tested the full capacity OF Old City Hall. After
making certain alterations, rendered necessary
by the severe indisposition of Mr.. Paul Zim-
norman, who was to have been the tenor solo
lows:
Goidmark-Overture ''sakuntaIa.
no,d Characteristque' for violon-
Mr.. Anton Hekking.
M9zartoA Gas Aria m from the opera "Entfuehrung aus
Madam Steinbach-Jahns.
Scnumann-symphony No. 4 in ID minor, op 10.
Introduction (adagio non troppo).
Allegro.
Romance tadagio non troppo).
ScherZ0.
Finale (allegro)
Demersseman. 'Fantasie for Flute,,. .........
v,ana. ;;:;:.-..M Monsieur r. Chssles M Mole;
Weber, Hymn, .sin Constant 0rder'' op. IS .....
Mrs. W. B. Wolfe, soprano.
Miss Maggie z. Fraser. contralto.
Mr.. Joseph A. Vogel. tenor.
MIR. John A. Strouss. basso.
Chorus and Boston symphony Orchestra.
Goldmark's romantic and richly colored over
ture forms worthy embodiment of one of the
loveliest of Hindu myths. The tender suavity
of the Introduction, the graceful ripping Of the
theme first assigned to the cellos and clarinets,
the more passionate character of the subsidiary
motive that appears in the violas and oboes,
and the barbaric pomp of the subject flung out
by the Drasses, all have their proper place
in depicting the emotions incident to the story
of SdkuntdLd, daughter of a saint and a water
nymph, wife of a king and mother of the glori-
Gus race of the Bharatas Under Mr.. Nikisch's
inspired baton, the work was played con dmore
throughout, its every detail receiving due
weight and the whole gamut of its emotional
phases seeming to be reflected from the heart
Of each participant from conductor to tym-
panist.
THE D minor symphony though numbered
as the fourth by reason of its later pub
lication, was the second in time of composition,
following in the same year QS41l its inferior
predecessor in fiat. Throughout its length
a remarkable unity of effect is produced, first,
by the absence of pauses between the move
ments and, second, by the constant recurrence
OF the same themaIic material in various
guises through the different movements The
orchestra had evidently bestowed the same
careful study upon this noble work; it would
be hypercriticism to attempt to pick flaws in 1t.
Especially we'll realized was the SURPRISING
sweetness Of the romance. which is a bit of
genuine poetic inspiration. In the very tamil
lar Tannhaeuser" overture Mr. Nlksch's inter-
probation differed from the tradition (lf the
music of the future can have any tradition)
in the more subdued and delicate treatment of
tne earlier part OF the tremulous. voluptuous
"Venusberg" episode This was fully justified
Dy the increased effect of the bacchanalian
Whlrl into which it merged.
WEBER's noble, earnest hymn made an ad-
mirable close for such programme. The
choral writing Is in the composers best vein,
and highly effective throughout. 1t gave our
much priced chorus fine test of its prowess.
The test was finely borne. The massive
breadth of the opening chorus and the power
full. intricate phrases of the final fugue (what a
superb chorus this last one is), as well as the
soft accompaniment work with the soloists,
were all done in a fashion worthy OF high
praise.
Mr.. John A. Strouss' resonant bass had the
best opportunity among the solo parts OF the
hymn. He sang with much discretion and taste
Mrs. Wolfe's solo wofk was of her customary
high quality, though she sang az times as II
tired-especlally SO in the trying unacconi-
panied choral where the pitch fell considera-
bly,. Miss Fraser and Mr.. Vogel filled out the
quartet in thoroughly satisfactory manner.
NINE. sTE1NBAcH-JAHNs, in Mozarts bril-
liant air, displayed more clearly than be-
fore the rare flexibility of her large voice. Be-
sides her excellent vocalization, her dramatic
style deserves recognition. Mr.. Moli showed
himself to be fiautist worth importing from
China, had he not been 80 near as the Paris
Opera Comique. A glittering technique and
artistic phrasing made his not very deep selec-
ton exceedingly attractive.
But Mr.. Anton Hekking easily carried off the
palm among the soloIsts. His tone. while not
large, is rarely sympathetic, pure and mobile,
and the facility and certainty of his execution |
could not be surpassed. There was deal of |
artistic feeling in the fantasie and yet more in |
the familiar Chopin nocturne with which he re- |
sponded 10 an irrepressible encore. He ought |
to be called the Sarasate Of the violoncello.
c. 8.