New-York tribune., 1896-12-27

I five months older than he Isl The greater part OF
| his musical education was derived from his father
| though he studied for while under Rheinberger
and Baermann in Munich IT the Conservatory. He
! has been an industrious composer. and though all
Of his works have not been published. nearly all
have been performed He has written three masses
for mixed voices and orchestra. one mass for
female voices; nearly half hundred motets; three
books Of songs and some thirty that have not been
grouped besides part-songs for mixed choirs ana
mems voices: large number of pieces in large and
small forms for pianoforte solo: string quartet.
sonata tor panoforte and violin. and novelty IN
the department OF chamber music in the form OF
quintet for panoforte. violin. voloncelo. horn ana
soprano voice; Romance and Spinning Song ana
Rallade for violin and orchestra; suite in four
movements for vlooncello and orchestra: the Con-
certstiick for panoforte and orchestra which was
PLAYED at the rec concert the thirtieh OF his
numbered works. and n concerto op. -; 4 ballade
for barytone and orchestra. Die PlSerfahrt nach
Kevlaar." and scena for soprano and orchestra
"Inecborg's Lament. for orchestra, two overtures
scenes de Ballet" "Liebeslied und IIochzeits-
klinCe" scre.lade and suite: finally an opera in
four acts entitled "kenworth." performances or
some Of these works are recalled by the writer AZ
follows: The sonata for pianoforte and violin at
concert given by Alexander Lambert in November.
lSsi. and its first movement at the meeting OF the
Music Teachers Nationa, Association in July. lsNj;
DIALOGUE" and "IIumorcskc' at concerts conduct
ed by Mr. Van der Stucken in February and Novem-
ber lss5: Die Pg,rfahrt mach Kcvlaar. ut the
meeting Of the Music Teachers National Associa-
ton in lSS5 and one OF the overtures Uhe same
played at the recent concerO at the meeting held
I'm Philadclphia In July. 1889: "Tngeborg's Lament
at a concert Of the Manuscript Society on Decem-
ber l3 1892 and OF the IIaarlem philharmonic So
cicty February l3. 1896. In the summer OF 1921 Mr.
Klein went 10 Germany and remained nearly
year. There Re gave 4 concert Of his works in
I.eipsic and published his opera founded on Sir
Walter Scott's novel. the words by Wilhelm Mufl-
Ter Of this city IIofmeister published the work.
and Professor Winding. Of he Leipsic Conserva-
tory went with Mr.. Klein to Hamburg for the pur-
pose Of Interesting Frau Klafsky in It. Director
Pollini accepted the opera. and Nine klafsky APP
poarcc in II for the first time at her benefit on
February 49, 1886 Her husband Herr Lohse. who
conducted the recent concert conducted the opera.
and it was received with favor by press and public
Several numbers from "Kenilworth" made up the
second part OF Mr.. klen's programme at his con-
cert. They the prelude to the opera, the in
strurnenta finale to Act |. the prayer Of Amy
Robsari. song by Varney the Introduction to
Act III. monologue by Tressilian. an air by
Leicester quintet and orchestral march. The
names Of the characters will be familiar TO the
readers of Scots novel. The fact that the differ
ent pieces were easily detachable from the pody OF
the opera carries with it information OF the other
fact that Mr. Klein does not despise the older oper-
in his treatment OF The orchestra. little too anX-
ious it may be said paint in high colors. but In
his vocal part he leans toward lyricism-such
lyricism as Is cXemplihcd In the German Lied
Being modern and romantic. his orchestra. of
course asserts a great deal OF Independence in its
proclamations being quite as unwilling as WaS-
rer's 10 play the role Of mere accompanies. Its
unwilllncness indeed IS extreme and measurably
defeats its own aims. Unless one is able to de-
velop themes like the later Wagner or pour out
long orchestral song To bear along the arioso vocal
part Ike the Wagner OF "Iohengrn." it is danger
Gus 10 keep the orchestra too much In mind MT
Klein's instrumental parts are extremely restless
The melodic IDEAS not developed. but strung
along one after the other. Neither IN character
nor in Instrumentation do they suggest logical
growth and so II Is seldom that his music exempl-
hes that loftiest attribute OF beauty-repose ms
Is as true of his instrumental numbers as his ac-
companled vocal. The keenest pleasure afforded
bv his prelude came from the middle part IN
which the old Scotch song MY Hearts in the
Highlands' was introduced In effective harmonlza-
ton and orchestraton. Amy Robsarts prayer
sounded as II made Of as,hmatic phrases for this
reason and II was because the song descriptive OF
a storm. sung by Ar. Treumann. and T.ecester's
air sung by Mr. Kaiser. were consistent and
HOMOGENEOUS IN their vocal part that they made a
much better impression. The concert owed much
10 Herr Lohse's earnestness and Skill tie thre"
his whole heart into the work. ana accomplished
admirable thin~s with an mproViseh orchestia'
very apprecably contributing to the success Of two
OF the shorte. pieces for orchestra-especiaHy the
"pialoeue" which Is transcription for strings
Of a pianoforte piece called lie Secret glamour
that has won its way to popularity. For the rest
II NAV be said that Mr. Klein Is composer OF
considerable independence Of thought and manner
and admirable technical accomplishments lie Is
IN earnest and goes a; his work with complete
confidence in his powers The overture performed
AZ the concert was denominated I'm the Old style
By this obviously Mr.. Klein meant the style OF
Cherubini-not the style OF Lully Bach and Handel
We confess that despite its archasm this overture
seemed TO offer more evidence Of the composers