New-York tribune., 1905-11-15
MUSIC.
NINE. sEMBRIcH,s RECITAL.

Every box every STALL every seat In the gall
Ieries of Carnegie Hall filed yesterday after
noon. when Nine. Scmbrich gave her annual song
recital Something almost. but not quite like IT
had been seen before and the demonstration was
peculiarly gratifying one from several points OF
view created by the recital itself AS is her rule,
Nine, Sembroh began with music OF the eighteenth
century, a period WHEN the oil art OF song was
no. vet forgotten She exhibited the art of bel
canto In an aria by Handel c'Piangero Ia sorte
miA"), Purcelrs "Nynphs and Shepherds pc
culiarly charming pastoral, "Cest mon ami, com
posed by Marie An:onette very probably with
the help of her singing teacher, the Cheva-
uar GJuck, and an with variations,
..F,ingo per milo dletto,' whose authorship
is unknown but which saved for the modern
concert room by Nine. Pauline Viardot- Into the
midst of these she injected song by Beethoven,
"Andenken" which called for singing in the old
STYLE and at the same time pointed the way to the
expressive defamation OF the modern German Lied
1t was noteworthy circumstance that, despite
the enjoyment which these old songs gave and
the applause with which they We're received.
the real enthusiasm of the audience-the most
numerous that she sang to In New-York-
was nevertheless, reserved for the songs, German
and French, of a later date. Did the listeners
(largey composed of professional singers and stu
dents) realize fully how much of the beauty of
her singing in these songs was due to her
mastership of the art displayed in the first
group on her programme? Possibly at any rate
It is TO hoped that they did, for in the earlier
songs was incorporated that phase of the musical
art which is rapidly disappearing and which was
never more necessary from an educational point
of view than now. In the modern sense which
calls for strenuous dramatic defamation, Nine
Sembrich is not exenlplar. Nature did not
create her to make feel the pains and penalties
of life, but to invite to enjoy its loVelness
Her art is aIl beauty, her every word and every
tone makes gentleness and for the refreshment
of the musicaIly susceptible soul We marvei at
her purely technical skill-her bravura-ln the
manner in which she employs it in the exploita-
ton of the musical idioms of the eighteenth CEN
tury masters; but love her for her sweet proc
larnation of pure, wholesome, inspiring beauty.
She is first Of all exemplar of the old manner,
but that she recognized and felt to be more was
made plain when she sang the modern songs:
Schumanns thrice dainty "R6selefn, Brahm s
"NachtigalI' and ReynaIdo Hahns less poetical but
still ingratiatins Isl mes avaient des Aies,
all three of wiilch she called upon to repeat
Scarcely less successful although they were neither
repeated supplemented with other songs, were
her interpretations of Schuberts exquisite 'Sehn-
sucht" Horatio Parker's ''Milkmaid's Song, Hugo
VOLTS 'FVerborgenhet' and Strauss's Itch TRACE
meine Mime" After the second group Nine. Sem
brfch added Schumann's "Auftrige, after the last
number the programme Strausss ''Standchen,
and-of course-Chopn's 'Naiden's WISH" to her
own accompaniment. The songs on the programme
were exquisitely accompanied by Isdore Luck