Brahms Chamber Music
The Piano Trio of Heinrich Barth, Emanuel Wirth, and Robert Hausmann gives its last concert, with guests Carl Halir, Karl Klingler, and Richard Mühlfeld. (This is the postponed Brahms memorial concert from 28 March.) The C major Piano Trio, the Clarinet Trio and the Clarinet Quintet make up the program. Fifteen years earlier, the premiere of both clarinet works took place on a Joachim Quartet concert: this was December 12, 1891, with Brahms at the piano for the Trio.
At the rehearsal for that concert (when the work was heard first, it being still in MSS.), the applause was simply deafening–in fact, I never heard or saw such a scene at a concert before; handkerchiefs were waved, and people, unable to restrain their enthusiasm, actually stood on the chairs. The applause was, however, well deserved, the new quintet being of such rare beauty. The adagio stands perhaps alone–unrivalled.“Music in Berlin,” The Magazine of Music 9 no. 1 (January, 1892), 16.
Four concerts by singers, three of them baritones, are scheduled to go up against each other. Even so, the concerts by Heinemann and Johannes Messchaert have been sold out for some time. However, the latter has postponed his performance to 24 April due to illness, so it should now be possible to see both.
Alexander Heinemann’s concert consists of 18 songs by Beethoven, Schubert, Schumann, and Brahms (all of which are named in a newspaper ad). With Alfred Simon on piano.
Hans Hielscher: the baritone’s second Lieder- und Balladen-Abend includes Loewe and Max Schillings; with Paul Plüddemann, piano.
The Liederabend by Valeska von Facius is a benefit concert.
At the Theaters
- Here is a novelty, a ballet: Coppelia is at the Opera house tonight. Salome had originally been scheduled.
- Komische: Tosca
- Central: Wiener Blut
- Deutsch-Amerikanisches: Mamselle Nitouche
- Lortzing: La Traviata (according to the Vossische Zeitung); Fra Diavolo (according to the Tageblatt)
- Theater des Westens: Die Lustige Witwe
About Last Night
The first reviews of last night’s Don Carlos are favorable. Max Marschalk (Vossische Zeitung) just briefly reports that the Monte Carlo orchestra was more “respectable” than on their first night and that Chaliapin stood out for his portrayal of King Philipp. Leopold Schmidt’s more expansive first thoughts in the Tageblatt consider how the opera fits in with Verdi’s development. He is reminded in places of Meyerbeer, while other aspects are reminiscent of early Verdi. There is a reference to the “tasteless exploitation” of the Schiller drama for the libretto. Schmidt liked the baritone Renaud’s Rodrigo the best, although his acting was of the old-school “posturizing” style. This made quite a contrast with Chaliapin’s characterization, which Schmidt saw at times as verging on caricature. Still, it packed quite a punch when, as Philipp, he wept or smoldered with anger.