The Jersey City news., 1899-11-29
SCHUBERT BEST I
First Concert Of the Season
Last Night a Musical
Triumph.
FINE PROGRAMME AND EXECUTION
Audience Delighted by the
Performance of the Kalten-
born Sextette and Miss
M. L. Clary.
FINE PROGRAMME AND EXECUTION


Tabernacle last night for those who came
/ to hear the first concert Of the Schubert
lsGlee Clubs fourteenth season. OF all the
good concerts given by the clue ana there
| have been many, none has surpassed lha1
/ of last night for variety and merit IN the
| selection Of programme and excellence
/ in it's execution. The work OF the cluo
| was far in advance of any preceding e.
fort. The old shortcomings OF silpsnou
/ leads and ragged ends" had entirely as
appeared The voices were well paianceu
| and the volume and timbre were OF tne
| first order. There was breadth OF syai-
| pathetic treatment, too, in the entire
| chorus work revealing at once most con-
| soientious and painstaking efforts, ana
above all, hard work.
| The first number on the programme was
| a winter Song" by Buhard, in wn2cn
| the motiv falsl chiefly to the baritones
and then to the tenors In Initiative ioIn.
| Generally a first number is tameiy suns
| the voices, like instruments, Deeoans
warming up. There was nothing OF tnal
about the rendering Of this joviai Morse
drinking song The club caught at once
the spirit Of the song Once or tW2ce
4 small chromatic passages by the 1enors
| were not accumulated enough put lnis
was quickly changed and the melody
went along with an elan deservedly result
| ing in an encore.
The famous aria, .tche Faro" from
Gluck's Orpheus was the first solo given
| by Miss Mary Louise Clary, contralto OF
/ St Patrick's Cathedral, New York; an
artist not unknown to Jersey City audi
ences. Her opening notes in the recitative
| last night showed voice Of great power
| and sweetness, particularly in the lower
/ register In the sensuous aria following,
| there was no excessive use OF tremolando
| to hide defective intonation Miss Clary's
| phrasing was perfect and what little
| brayura work occurred was not over
| done. The singer was warmly applauded,
Next came the club with Metzger
| ssThou Art Ny Dream" which was simply
a baritone solo with vocal four part ac-
companiment in humming form. One OF
1 the club members, Frank A. Byrnes sang
the melody and sang it well, giving the
sentiment of the lines in an intelligent
musical style. The light and shade in the
exceedingly beautiful accompaniment were
w.all brought out by the tenors and basses,
whose voices were at no time dominant
4 e----@
there followed Medley of Southern
Songs" arranged by Maurice Arnold, con-
sisting of MY Maryland, " Dixie. Ken
! lucky Home" etc, etc. Among many in
| the audience these were first favorites and
| they insisted on an encore.
Chief among the good things on the
programme was the delightful playing of
the Kaltenborn Sextette, the members of
/ which were:-FTanz Kaltenborn, first
violin; Carl Hugo Engel, second violin;
| Erwin Banck, viola; Hermann Boyer
GIane yioloncello Paul Elm, double bass,
and Ernest Wagner, flute. These artists
gave first suite by Charles Kurth, con-
sisting of an introduction, intermezzo and
q tarantella. No better selections could
/ have been made in which to display artis-
tic playing than these There were the
/ rich tones with delicate nuances In the
i slow pastoral introduction; the brilliant
staccato and pizzicato passages in the
gavotte, and the airy, graceful rhythm of
the six-eight movement all of which these
! artists brought out, emphasized and
differentiated in rare style. The musical
analysis was exceptionally interesting.
Later in the evening the Kaltenborn
Sextette played another group, the first
/ number of which was an Adagietto by
Bizet, placid, smooth composition with
the stringed instruments muted. Then
4 followed a graceful ''Dance Caresse," by
lGiilet, a graceful thing in three-four time,
suggesting In its form 'Loin du Ball. by
the same author This was also played
con sordino. But the gem, however. of
the three, was the Scherzo by Koehler,
musical description of mice around a
trap when listening to the rapid, delicate
bowing of the violins, suggestive of the
nimbleIfooted creatures scampering about.
and on hearing a sudden. abrupt note,
like the springing Of a trap, one couldn't
fail to admire the authors idea and the
exquisite work Of his interpreters The
I sextette's playing was indeed a treat
The first part of the programme closed
with Chorus of Priests and Bishops,
from Meyerbeer,s L'Africaine," by the
club. Dudley Buck was responsible for
the arrangement. This was accompanied
by string auintette. flute, piano played
by Moritz e. Schwarz and the organ, al
which Charles Baier presided. Here il
was that the second basses distinguished
themselves by their excellent work, par
ticularly noticed in the final verse, where
there is a splendid climax and equally
: fine anti-climax. The shading and read
ing generally was of high order.
But the choral triumph of the evening
was a cantata, THE Nun Of Nidaros, =
by Dudley Buck This had string ac-
compartment with piano, flute and organ
which latter instrument might just as well
have been excused, because tno fault Of
yours. Mr.. Charles Baier) the poor
wheezy. asthmatic, uncertain old thing
was not in tune with the other instru-
| ments. In this work was a tenor solo
sung by A. B. Pattou, a member OF Trim
ity Church choir. who sang with much
taste and finish. His voice was not strong
but his tones were singularly pure and
dulcet. AS in the preceding work, the
second basses had the fat" but so wei
did all the voices acquit their parts thai
there was glory enough for ALL Victor
Baier In his handling of this cantata
| showed what a skillfuI conductor can az
| with a choir. treating them like ar
orchestra and bringing into prominence
irst one voice and then another, modu.
lating his forces as an artist does hi.