The Jersey City news. (Jersey City [N.J.]) 1889-1906, 1897-11-24
THE SHUBERT CONCERT.
interesting and Artistic Pro-
gramme Presented to a
Fine Audience at the
Tabernacle.

whole in its and consistency,
and beautiful in each and every one OF
its parts.
There is only one trouble about a Shu-
bert audience. The ladies outnumber the
men abou- five to one, and SO the APP
plause IS weak. 1t fails to represent the
enthusiasm which the programmes OF TINS
admirable musical organization inspire.
| There can be no doubt that last nights
audience intended an encore or aimosl
every number, and the lack was Simply
of men to enforce the demand. inc pro-
gramme combined the highest order Oh
amateur work with a display OF pro1es-
sional merit, little short of perfection Al
has become the fashion, for the last sea-
son or two, to declare at the close OF each
Schubert concert that 1t was the best the
club had ever given. We believe this was
said with absolute truth last night. me
selections We're of the ~happiest. They
were of high musical quality and yet al
popularity interesting. The interpretations
were all that the most exactfng artistic
standards could demand.
The concert opened with a beautiful ex-
ample of Mr.. Victor Baier's work as a
| choral conductor. 1t was STRIKE the
| Tyre" a graceful work by Cooke, IN
which the Shubert Glee Club exhibited
its powers without instrumental support.
The notable feature was the variety OF
tone color given by marvellous manage
ment of the tenor voices. The erect
might be likened to that produced by the
use of the various instruments in orches-
ira. At one moment, one almost seemed
to hear the tones of the trumpets ana
| trombones, and again the wood wlnd
! seemed to prevail, according as the more
robust or the more sympathetic quality
of voices were brought into prominence
Much life and animation is impaired 10
the piece by rapid contrapuntal passages
for the bass voices, and this section OF
the chorus displayed a feIibility ana
| lfghtness of touch in these places, which
covered both the singers and their con-
ductor with glory.
Following the first number, MISS Mary
Louise CIary sans 80 Mic Fernando
| from La Favorita." Miss Clary is a tai
blonde young woman with a pretty race
and the characteristic prima donna figure.
| She has also rather more than the average
! priraa donna assurance of manner, ana IL
| does not add to the pleasure of listening
to her. Not but thai she has qualities to
| iustjfv confidence in herself. She has a
| contralto voice of remarkable richness,
| fuu and sonorous in its lower cache
| and sweet. rounded and appealing in it's
| high notes. She is besides q remarkably
wen trained singer. She passes from
register to register by such gradations'
the uality of tone is so evenly sustained,
| that the transition can hardly be deteetea
nv the listener. The entire scale is pro-
| duced with the smoothness of a perfect IN
strument. Her musical ideas are excellent
| also. She has an intellectual grasp OF hef
songs. and her perfect art enables her 10
translate the thought into music with
certainty. In 1.-THE Lost Chord when
| she SAL as an encore, this was especially
/ plain to the audience, who were charmed
to find their understanding of the We'll
known and touching words SO eNquisltely
translated into tone language. On her
| second appearance, towards the close OF
| the evening, Miss Ciary sang Angus
| Macdonald" a ballad full of feeling by
| Roeckcl, in which the piano part was full
of clever suggestions of Scottish min
| strelsy. Miss Clary was at her best IN
this. Her enunciation is wonderful. one
of her great merits is that she neither
sacrifices distinetness of speech to tone
production nor tone to artieulate speech.
She YIELDS the one to the other, and her
hearers are subjected to the double APP
| peal of the words and the tune. Pre-
| sented in this way, Angus Macdonald
was a triumph for the singer, and the
| D of the audience was one of the
| most cordial tributes of the evening. AS
an encore, Miss clary sang poor Trllby's
famous solo, Ben Bolt" 1t is pity she
cid so, 1t was the one mistake of the
evening". and the audience showed its sem
; sitiyencss to the musical impression, by
the chill which fell upon it as the pa
thetic simplicity of the air was destroyed
by pretoTtious dramatic conceits for
which it affords no legitimate occasion.
| Miss Clary is the young lady, we believe,
who sang this song, behind the scenes,
| during the long run of Mr.. Potter's dra-
matization of the novel at the Garden
Theatre. We cannot help that. She does
not know how to sing it. We would
| recommend her to get a copy of Du Maui
| rier's book and read what he has to say
| about it. We can assure her that II
Trilby had sung it as she does, Trilby
would never nave made the stir in the
! world tina she did.
But enough of Miss Clary, who, what
ever her merits, was not the artistic SUI
perlative of last nights entertainment.
| This palm. so far as it does not belong
| to Mr.. Baier for the great work done by
| his singers. is due to the Kaltenborn-
Beyer-Hane string quartette, an organi-
| cation of such exquisite musical ability
| that all words are cold and tame in speak
| ing of its playing. 1t followed Miss Clary
| with two all too brief selections. An
Allegro Moderate, Opus II, No. 5, by
| Rubinstein. was the first of these, a fanci-
| full composition in which the dancing of
| fairies and elves was suggested by the
| quaint eapricious streams of notes which
| seemed to dance from the strings Twice
| this effect gave place to a singing move
| ment in which the first violin and the
| cello blended voices in a delicious harmony
that thrilled the senses. The second Sc
lection was Tschaikowski's Andante
| Cantabile, Opus II, an exquisite love song
in which the whisperings of the heart ap-
peared to blend with the natural outdoor
notes of springtime. The viola, usually a
hankless Instrument to play, has a beauti-
| full part in this composition, and it is only
Just to say thai it was most charmingly
sustained.
The members of the quartette are:-
| Franz Kaltenborn, first violin; Edwin
WaIther, second violin; Ernst Bauer,
viola. Herman Beyer-Hane, violoneeilo.