New-York tribune., 1900-03-10
MUSIC.
A NOVELTY AT THE OPERA.

Hall an hour before midnight last night the cur
tain fell on the last act OF the only production
which the patrons Of the Metropolitan Opera House
are likely to see this II Nicolais
sion OF The Merry Wives OF Windsor" score
Of circumstances promised to make the production
SUCCESS. and after the first act buzz
OF aehshteo enthusiasm ran through the house
and filed the corridors. UnhappIy much Of
this advantage was afterward frittered away
partly by the slow manipulation OF the stage.
but more by the poor acting and worse singing OF
Herr Friedrichs, who had been intrusted with the
part of Falstaf. When all was over the thoughts
OF success went only TO the singing and acting of
the principal women. Mines. Sembrich and Schu-
mann-Heink. who were indeed charming IN any
way Concerning their doings and those of their
companions discussion be reserved till an
other day. This is only record, and
pete II is only necessary tc mention the fact
tnat In the first scene OF the third the romance
OF 'Herne the Hunter which falls to the lot of
Mistress Page. was omitted. and in Its place Nine.
sembrich-that is TO say. Mistress Ford-sang the
Strauss waltz. "Voce di Prmavera" And since
the plaUdits could not otherwise be stiied a sec
ond Interpolation This charming cradle
song by Franz Ries
THE SIXTH PHILHARMONIC REHEARSAL.
The sixth concert of the ffty-eighth season of
the Philharmonic Society of New-York will take
place In Carnegie Hall this evening, and unless
something which cannot be foreseen and fore
musical records of the season, Judging by the
offerings OF the public rehearsal yesterday after
NOON New music of an interesting character will
De brought forward. artist who enjoys
thing more than the admiration of the socety's
patrons will play again after absence of
years and compositions familiar 10 all, half
way so. will receive large and convincing interpre
tations. All this, at least. promised by the
public rehearsal, and evening concerts always
better than the preceding rehearsals. The new
music is a violin concerto by Christian Sinding
the Scandinavian composer, concerning whom The
Tribune had something to say last Sunday: the
artist NJ. Henri Marteau who will play 1t: the
familiar music. the two lovely fragments that be-
long to the symphony which Schubert did not
finish, and the prelude and finale of Wagner's
Tristan und Isolde; the music which has been
heard here before but cannot be called familiar.
Dvoraks symphony No in G and Guiraud's
caprice for violin and orchestra. OF these two
pieces the former brought forward by the
Philharmonic Society eight years ago almost
a day and the latter played at Sunday night
concert at the Metropolitan Opera House by NJ
Ysaye two seasons ago
Thus much for the record and promise. Yester
days performances provided season of dignihed
delights The Dvorak symphony is work OF fas-
cnating freshness. and its absence from our con-
cert schemes for such long spaces of time is de-
plorable. A flexible and graceful touch would
have helped Mr.. Paurs reading and its effects
might have been counted on, for the band was
peculiarly responsive yesterday and put TO It's
credit a performance OF the Schubert fragment
which could scarcely have been bettered. NJ.
Marteau introduced the Sinding concerto In Europe
last year. and has evidently set himself the task
OF popularizng IT, II would be hard TO mention
one better fitted for the task. II Is thoroughly
and rugged work, brtstlinS with
difficulties, speaking the idiom OF the
solo instrument. but with good deal of north
ern rudeness. There Is vast amount OF energy IN
Its first movement. but a want Of dynamic variety
which initiates against 1t somewhat. The second
movement (the three movements not separated
by pauses but easily distinguished is per-
haps the most individual and musicay the most
Interesting with its predominantly Bachian atmOs-
phere. We easily imagine the work winning
high place In the hearts of violinsts for whom its
difficulties have terrors. NJ. Marteau played
the work with remarkable breadth of tone and a
calculated carry his hearers off their feet
yet, had he not played the Guiraud caprice, as
strong a contrast with the concerto as can we'll
be imagined, he would have made less favora-
bic impression. for his intonaton was not mpecca-
BILE IN the concerto. and there was little opportun
,y display sensuous beauty OF tone IN H. And
NJ Marteau is heard at his best unless he dis
plays the elegance OF his style well as his viril-
ty He Is a fine artist and right gladly vas he
welcomed.