Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-10-11
Very Pleasing Programme,

Scores of people were turned away from
the doors of the new Duquesne Conserva-
tory of Music last Thursday evening, when
the first of the series of faculty concerts
was given. Omitting the two elocutionary
numbers, which were out of place in a
concert of that grade, and are to be blame ed
for its undue length, the programme was as
follows;
Homage Handel-Duo for two pianos. .Moscheles
Messrs. Retter and Carter.
Nes'N' Mr.. Papenbroci. " ''---" "''-
ta) The night has a thousand eyes, R.ttsr
(b) When am gazing in thine eyes, 1900 A'eA
Miss Beach.
Concert piece-Andante Cantable. Rondo
oaprici0S0' Mr.. Guentbcr. 'aoAS'0nn
''And csn,st Cans, Thou Say" tpoem by Dr.
EnsnSn' Dr.. English. Carter
Theme and VaFiafiqas: mT Reiter RECOMMENDATIONS
Robert Idol of Ny Heart, F,tf MeyerDeer
s EEaiTy Eani Tae' Forester
Miss Beach.
Mr.. Papenbrock and Mr.. Retter.
An earlier engagement prevented the
writer from hearing the first three numbe s
of this interesting programme Jadassohn's
concert piece is O pleasant token of the re-
wood-winds on the part of prom
inent modern composers; such
work is infinitely superior to the
cheap claD-trap affected by most of the trav-
cling flute virtuosi. Mr.. William Guenther
deserves credit for his good taste both in
the choice and in the artistic playing of the
work, although in certainty of execution
and purity OF tone he was on this evening
not up to his former high standard. 1t
seemed as if he was somewhat hampered by
the strangeness of his patent mouth. piece,
changing entirely the position of the instru-
ment, though one hearing could not abso-
lutelV determine that point,
Mr.. Charles Davis Carter'S song is for the
first two stanZas an eminently melodious
and singable ballad; the third verse seemed
on first hearing to wander from the text and
lost definite effectiveness thereby. Dr. W
T. English was evidently not at his best, his
agreeable, sympathetic tenor being
affected with distressing tremolo: nor was
he letter perfect in his notes. There is al
ways, however, an emotional warmth in this
singers work that causes the audi
enSe co to Refser Dlemishes
beautiful and musicianly set of variations
by Bernhard Scholtz, work of the kind
that ought TO be seen on the virtuoso's pro-
grammes in place of some of the frothy fire.
works, Some water had been spilled in the
pianoforte just before the concert, unfor-
tunately for Mi. Retter, who did the best
that could be expected with the damp
hampers.
Miss Sadie E. Ritts, the only performer
outside the faculty of the Conservatory, dis
played a soprano of clear, sweet quality
and of much power in the lower registers,
though a bit thin at the top. Her stvle
showed the results Of good schooling in.
Decd the schooling was too apparent;
the singer seemed not yet to have
reached the complete mastery Of her
resources required by Mr.. Meyerbeer's
way OF expressing despairing
ap cal to the idol of ones heart Miss Julia
Beach's voice is dramatic soprano of con-
siderable range and caliber; rather too big.
it seemed, for her to accomplish a good
7nezza voce She is to be accredited with un-
sincerity; the timidity natural to
debut among strange surroundings
may account for a certain lack
of freedom and abandon in her
singing. Mr. Ad NJ. Forester PLAYED the ac-
commandment for his own songs, the first of
which is particularly fluent and singable
ballad of tho higher sort, while the second is
a broad, dramatic composition, with many
striking points and thrilling passages. but
Which somehow seemed lacking in coher.
ence and unity.
The feature Of the evening was Grieg,s
glowing and intensely modern sonata for
Violin and pianoforte. Mr.. WaIdemar
Papenbrock is very recent and, it would
seem, decidedly valuable acquisition to
the ranks of our violinists. His tone, while |
not at all large, is pure and sympathetic;
his information Is much above the |
ordinary level good school is ap-
Is, moreover. clean and correct to degree. |
His treatment OF the Grieg piece was not |
exactly brilliant-the allegro con brio espe- |
cially called for more fire and stronger |
accentuation-but it was faithful, musician. |
ly and generally satisfying. The in
termingled pathos and grace of the !
aueoretto were well brought out, and |