The Jersey City news. (Jersey City [N.J.]) 1889-1906, 1892-04-20
SHUBERT'S BIG SUCCESS.
A Concert On a Really High Key
Excellent Work Done.

The most satisfactory of this winters
night at the Tabernacle before al audi
ence which comfortably filed the body of
the house. with plenty OF room around
the edges. The programme gave well
come Indications that at last the Shubert
had some idea Of ~elevating popular taste
instead of following it. While the aver
age glee is highly diverting, seven aver
age glees all in a row are highly monoto-
nous, and three such lumber as Bucks
arrangement OF the "Bugle Song"
Mohr's cantata. and "Steersman, Leave
the Watch!" from the Flying Dutch
man." can prove the club a real factor in
music sooner than twenty of Caldicott's
r%ecreations. AS the opening effort The
best and worst glees were bracBeted to-
gether. In a Spring Song" by Carl
Weidt, the fine shading for which the
club Is noted came into play, and
the precision of the abrupt minor
modulation. together with the
we'll rounded ending. made the
number a thing of beauty. A kindly
veil Of silence should be drawn around
The honors of "Old King Cole" that in-
cluded a fierce vocal obligato from an
agitated youth who seemed vainly striv-
ing after something he could not find.
Perhaps Mr.. Baier has his own reasons
for invariably dragging the time of an
sponsible for spelling an otherwise we'll
rendered number. "The Water Lily"
GENIUs OF MUSIC.
The most ~pretentious number was Her
mann Mohr's cantata, $40 the Genius OF
Music" for soprano solo, quartette, Or
gan. piano, string orchestra, cornet and
chorus The prominence given to v1olas
~ ILL s-~-1 kba -. ~ IA ftN. Aft
with Wagnerian color, and in TWO inter
ludes aSmotif from "Lohengrin" was so
near the surface as to be tantalizing.
while the crashing finale was the best
proof of the composers tendency. In
fact. Nine. Blauvelt's voice built
on Italian models was scarcely robust
enough to rise above such a mass
of German sound, until a lull at
the passage "A song of songs is heaven
ward going" The quintette, Nine. Blau-
welt, Thomas ]. Adams. Sidney Adams,
j. H. Castens and Edgar S. Smith, de-
serves special mention. Dudley Bucks
arrangement of the bugle song concluded
the first part, and deserved the wild
plaudits it received. Tine accompani-
ment was for piano, organ. comets and a
strong orchestra from the New York
Philharmonic. The chorus reached ITS
highest plane here;the balance was perfect
throughout and the cresceudo of the last
stanza "A wonderful piece of work. The
final number was from Wagner's Flying
Dutchman, and held the attention of even
the s~oulless ones who stalk out during
the last chorus.
MADAME BLAUvELT's PART
The personality OF Madame Lillian
Blauvelt. the soprano s~oloist, i thorough
ly charming, and sets her audience in a
delighted frame of mind, even before she
sings Her voice is OF pure. resonant
quality, with remarkable compass and
tlexibiliEy, all of which came into play in
tine famous Dream Waltz from
Gounod's ''Romeo ct Juliette." The rare
dramatic ability and sudden effects is
light aud shade in a Bolero OF Delibe.
brought down the house, and after sew
eral recalls. Nine. Blauvelt sang 1.-The
Last Rose of Summer" with great ten
derness of expression.
Mr.. Emil Schenck is an artist of rare
ability. who developes all the rich posi-
bllities of the ~violoncello. His opening
number was an elaborate fautasie
by Grntzmacher. well calculated to