New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-30
NINE. SEMBR|CH S|NGS'


and 1t has also been deplored. 1t has been
lauded because 1t betokens an amiable
quality Of gratefulness, and deplored be-
cause IT makes the road TO appreciation
and success difficult to the newcomer
The trait Is also a marked one in the
people of Germany, who are prone TO
cling to their old sngers-especially
those Of the opera-not because OF the
present pleasure they afford, but because
of the pleasures of memory which they
awaken When the younger generation
speaks of disappointment its voice is 81
| fenced with the remark, "Ah! but you
! should have heard him" Strangely
enough, 1t is nearly always a man who
calls out the remark in Germany, "Twen-
ty years ago-ach!" for the German ma
tron is just as sentimental as the German
maiden, and the case of Schiller versus
Goethe will never belong to res judicata.
| American audiences, for reasons more or
less inscrutable, since In opera house and
concert room they have heard the best
that the world has afforded for nearly a
century, have not attained that position.
Perhaps II is because the great artist Is
here still bird Of passage, giving us OF
his song when 1t is at Its best, and re-
turning to his native homo when he feels
that something besides his art is neces-
sary to keep him warm in the popular
heart. But an experience OF more than
| generation brings the conviction that
familiar and long acquaintance does not
diminish the admiration Of the American
people for lofty manifestations OF genuine
art or their love for it's exemplars, so long
as they remain such.
| There was a striking illustration Of this
fact at the song recital which Nine. Sem
| birch gave in Carnegie Hall yesterday
afternoon. The audience gathered to hear
| her was like the audiences OF more years
past than II would be courteous to men
| ton, were not the circumstance itself
an eloquent tribute to this marvellous
artist 1t was an audience Of teach
! ers, students, singers professional and
amateur), music lovers and knowers OF
music. Some had come for spiritual
refreshment, some for artistic edifica-
ton Conspicuously absent were the
merely curious and the seekers after
superficial entertainment The great room
was crowded and over everything brooded
a spirit of refinement and gentle love for
] the art of song and its eloquent votary.
/ And yet its attitude. with all It's kindh-
ness. was critical. Nine Sembrich was
most cordially greeted on her entrance.
| Round after round OF applause, each
| heartler, warmer than it's predecessor.
made proclamation Of the anectionate
sympathy which the thousands felt for
| the woman who had given happiness and
delight on so many similar occasions In
years that are past. But the spontaneous
welcome over, the audience relapsed into
characteristic mood Of recepuyity to
whatever impressions the artist might
compel. The impressions were many and
varied and the expressions Of approval
| Huctuated from perfunctory recognition
OF painstaking desire to interpret song
| to thundcrous plaudts and a demand for
repetition when tat desire found such
| fruition as only Nine. Sembrich's voice
and art can give. This glad mood grew
as the minutes passed and eliminated az
| last in the familiar demonstration Of al
most frantic delight. but in its develop
nent Il was marked by keen discrimina-
ton.
| Nine Sembrich is not a music box, but
a woman OF deep feeling and fine sensi-
! bilities She is in the truest sense OF the
words a recreative artist With the prod
uct Of the poet and composer she mixes
something of her own exquisite emotional
nature, as well as her infallible sense Of
beauty of tone and perfection Of artistic
utterance 1t Is the soul Of the song
which is exhaled in her singing-its poeti-
/ cal and musical essence Her nature Is
gentle and not attuned TO violent dra-
matte utterance and neither her voice
nor her manner adapts Itself 10 the
portrayal OF hot passions Her gamut
| stops short OF the extremes in both d.
| rections, but within its native compass
| II has infinite gradations It's jubuation
| as well as its lamentation is that OF
maiden gazing wide-eyed upon the mys-
teries OF nature and love, rather than
that Of a woman taught and torn by llfe's
experiences. Her Joy is gladness sub
limated-an ecstasy; her sorrow, tlmId
apprehension OF something unknown.
Such songs as the second OF Schumann's
Songs OF a Bride" and "Roselein" and
| Brahms's "Nachtigall," which, with
| Schumanns dainty Sandman" and
Griegs I'm Kahne" the last sang after
the songs which made up the second part
| Of her programmed, are the finest yehi-
| Giles for her art. In them her voice and
| her style are TRANSPORTED, and yesterday
| they marked the climax of two hours Of
unaloyed pleasure. Such singing could
not be listened TO with critical conscious
ness; 1t penetrated sense and soul like
breath of the sweet South. perfume laden.
| The first part of Nine. Sembrich's list
was made up Of six songs by Robert
| Franz two songs by Peter Cornelius,
eight by Schumann and ten by Brahms.
| The oppression which has always weight
ed her singing at the beginning OF re-
cital rested upon II a little longer than
usual yesterday; 1t was not wholly dlssi-
pated, I'm fact, until she reached Cor
nelius's delightful "Komm, vie Wan
deln." II showed itself chiefly in scant
| the voice. When Schumann's songs were
reached she was all her old self. Her
\ voice, pure, fresh and clear as dewdrop,
| noated TO the farthest distance OF the vast
room, teaching hundreds of eager listen
ers how much more efficient vocal quality
is than vocal force, demonstrating con-
yincingly the superiority of tmbre 10
| dynamics In addition to her set list she
sang Schuberts "Hark! hark the Lark"
after the first part. Grleg's I'm Kahne"
| -. ,bo ancoud I'm which ahe raneatod