New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-02-02
MUSIC.
Mme. ,Sembrich,s Song Recital.


There are no musical entertainments in New-York
quiie IKE Nine. sembrich's song recitsls. The form
is not unique for the song recital has crowded the
oid fashioned concert Off the metropolitan platform.
ana there is no singer looking to public recognition
oe1ohd the daily round of activity in choir loft or
oPelatc stage who does not adventure in the song
neid- But there recitais which. like hers.
oraw thousands to hear them where others draw
hundreds; none which. like hers. are a refreshment
10 the souls OF the jaded: which. like hers
orer such keen enjoyment. mixed with artistic in
strnction OF the highest type; which like hers
enord so clear an outlook over lyric literature
from the time when beautiful vocalzation lived for
4.S own sake Gown 10 the time when poetry and
DIG were joined In angelic wedlock mutually supple
mental mutually helpful mutually IN the lovely SER
vice OF sweet. uplifting beauty: mona which leave
SO GRACIOUS feeling Of gratitude for a gracious
ilinstratlon none which disclose so profound
knowledge OF poetic and musical values In the
construction and arrangement of a programme II
Is sweet and benehcent intimacy which her re-
citaIs invite At the opera she s no less a., ar+st
'nah she Is at her recitals. Those who know
nc oeantirul singing means hear II with delight
80 si'o sings at the opera; but their impressions
nee are disturbed and rolled by the tawdry sur
Ouulhss' the glistening tinsel. the hollow arti-
hcaLity' the debasing alloy which are part and
Percet OF the art-forrn- Only when she Is alone
eH 'hey get close to her and penetrate with her
20 .us heert OF the music which she and they love
ana so IL happens that with only pianist TO help
with HIND she is a more powerful Iodestone at
carnegie Hall than she is that Eilded home OF
fad and fashion. the opera house
Quite unexpectedly to the public she gave a
second recital for this season at Carnegie Hall
yesterday afternoon. Heretofore she has given
these entertainments only once year and before
tue beginning of the Metropolitan performances.
MS was mid-season affair; yet boxes and stalls
were crowded and for nearly two hours nearly
three thousand men and women sat under the spell
which aho all +ba4r
10 their ears. their emotions surrendered 70 her
care her programme was a miracle OF judgment.
taste and sensibiity. Historically. the scope ex-
tended from Purcell 10 the young composers OF to-
day She breathed the breath of lively humor
INTO an old polyphonic web by Bach. illustrated
the severity OF old English classicism in an
qulsite rondo by Purcell, the horid melodic grace
OF the italian operate school of the eighteenth
century IN air by Pergolesi, the dawn OF the
German song IN Mozart and Beethoven. the exalted
forescence Of that school in Schubert, Brahms and
Schumann and then. gradually removing the emo
tonal tension sent her listeners away with final
group OF French. English. German. Russian and
Polish songs which left them lighthearted but warm
with the glow OF hundred refining pleasures. 1t was
in the middle group. however. IN which Nine Sem
brch's artistic sengibtiss were most exquisitely
brought 10 notice. This was the succession:
'1iebesbotschaft," from Schuberts "Swanenge-
sang: Brahms's ''NachtigaIL'' two ''IAeder der
Braut'' and Err lists" by Schumann; Richard
Strausss "Arerseelen'' and "Des Glockenthjr-
mer's Tochterein.' by Loewe. OF all these songs
with the exception possibly of the first and fifth.
ii might be said that their effect is dependent
upon perfection of performance that IL is almost
dangerous TO laud their beauty lest incapables be
tempted to essay them. In the OF yesterday
there was gradual exaltation TO an ineffaole
ecstasy through the song Of Brahms the 'r lists
by Schumann, and for the first time that
recall in experiences az Nine. Sembrich's
Citals Strauss's "Allerseelen" seemed little cheap
in sentiment, Nine Sembrich felt where the
climax had been reached. She had been obliged
to repeat the song by Brahms; after a ravishing
performance OF the daintiIy humorous song by
Loevs (Which but she toy With, she
answered the demand for more by experimenting
the group with Schumanns "Nussbaum.' This
same keen sympathy for the propristies marked
all her other additions TO the printed list She in
troduced a song by Mozart, AN Chloe which
do not recall ever having seen on a concert pro-
granrne before and. true 70 her determination al
ways to bring back the attention OF her admirers
TO Beethoven. whom song singers who think IL
their duty to rasp the nerves Of their listeners.
with scant respect, she followed this with
''Neue Liebe neues Leben' When IT came TO the
additional song it Mozarts ''Das Teilchen,'
sung with expression wonderfully ingenious and
tender. Arthur Foote'S Land o the Leal.' which
brought tears TO many eyes and Professor Parkers
The Lark Now Leaves His Wat'ry Nest" would
both have been repeated had the listeners had their
way, but the list long and the songs were run
nirg OUT toward lighter sentiment. so Nine. Sem
br'ch waited till The end. and after Tschaikow skys
oh heller Tag (sunE in Russianl and a light
hearted mazurka- by Lubonirski. sung in Polish
tthe suspicion Of political pretudiees being thus
deftly turned astds). she added Strauss STAND
chen" and (there being no other way to still III.
tumulD Chopins "Maiden's Wish" 10 her own
brilliant accompaniment. Nine. Sernbrich has never
given a more memorable enjoyable recital
Mr. Luckstone seconded her delightfully."-.