New-York tribune., 1902-02-04
MUSIC.
MxE. sFMBR1cHs SONG RECITAL.

Nine sembrich gave The song recital which she
.ss compelled 70 postpone on January %. at Car
nseie Hall yesterday afternoon. With II she
.rovided a abort season of spiritual refreshment
and keen artistic delight. and demonstrated AZ few
affairs have demonstrated this year. how beauti-
fully music can minister the mind the feelings
end the senses at once She heard by a su-
perb audience. which time and again she stirred
into enthusiasm in spite of environment which
has frequently shown itself untoward on such
occasions. Recitals III which much of the es-
sence OF the performance depends upon recogn-
tion Of delicate nuances, nice shadings OF words,
Tefnements in the modulation of tones and also
3n the changing expressions in mobile face ought
TOT 70 be given In room large the audi
1orium Of Carnegie Hall. ITS vas,ness is against
such entertainment making the impression that
II ought and its acoustic vagarics prevent hearer
from obtaining a correct perspective in any part
of the house Let him sit enough to the stage
10 watch the play OF the singers features and the
music sounds as II IL were far distant. Let him
SIT three-quaTters hack where the music sounds
;ul and large, and he can facial expression
whatever. Song recitals like concerts of chamber
music. should be given in small rooms; and when
singer like Nine Sembrich gives them. they
snoulo be many IN a season, that their message
might De carried TO thousands who might profit
by II and as many more 10 whom it gives simple,
nuseihsh delight
Nine sernbrich's programme was generous, but,
more than It's nberaIity OF Offering its compost
ron was praiseworthy. II IS probably devotion
10 an old conviction which makes her place com
positions which make the sevcrest test on her
artistic skill first in the list She seems 10 feel
that the classic art Of yocanzation ought TO he
brought TO notice. yet she must know that It's
beauties have aot the hold upon popular love that
the emotional songs of the ninteenth century dn
which the Lied came into perfect hower) have
She sang Bach's ''Aiein glaubiges Here 10 begin
with. She had not warmed 10 her work, yet the
lesson was there IN the fine reposefulness OF the
delivery the suavity and evenness of tone. the
symmetry OF phrase and loveliness Of tone. Then
came q canzone by Hasse, ''Rtornerat fra POGO"
3 century older in style. though later in date,
crutiatingIy difficult, but valuable lesson IN
operate music, ii in the first half OF the
eighteenth century. Beethoven's Lied der
Ferne," simple and old fashioned. though soulful
ard Mozarts Warning" a gem Of archly hu-
lnorous expression. completed the first part.
With the second part Nine. Sembrich began an
exposition Of the lofty sentiment which imbues the
classic German Lied She put large trust in the
taste and intelligence of her audience when she
chose such songs Der Miller und der Bach
(Which does not submit TO be separated from its
context with impunity), and the two Songs of the
Bride" by Schumann But she did not put her trust
.n her hearers in vain. Schumanns eXquisitely
Eoulful songs aroused profound emotion and after
she had cheered her auditors with that jewel of
song without flaw of any kind, ''Auftrage," mel
lowed them with Mendelssohn's daintily pretty 20
Jugend. O schone Rosenzeit," she took them COM
rletely captive with Brahms VIE AIeodien zieht
es' and 20 nebliche Wangen.' It must have been
q delight TO the lovers Of German song of the high
est type 10 have the climax of the recital reached
-ust here She was obliged to repeat the first Of
the Brahms songs and, being recalled over and
over again after the second. she added strauss's
Eserenade"
Sentimental French music followed in Gounod's
SMignon" and delightfully."- humorous French music
IN Godard's setting OF La Fontaine's fable about
the Raven and the Fox; then came Polish touch,
which moved the audience, in Paderewski's "Ach
de oualen" another climax OF emotion in Strauss's
aAuerseelen' Crepea ted and some coruscatons of
musical rnerrment in two chiidrens songs by Tau
bert cradle song (Which Nine Blanche Marchesi
vas the last to sing here) and ''Vom nstigen Gras-
rnncklein" the archuess and brilliancy Of which
compelled demand for a repetition Bungerts SEN
firaentaI 'cNrenn die widen Rosen bldhn" brought
the audience back 70 terra hrma, and an added
humber Loewe's "Glocken thIrmer's Tochterlein,
seut everybody home in happy mood