excerpt from 'Musical letters from abroad' pp. 151-2 (397 words)

excerpt from 'Musical letters from abroad' pp. 151-2 (397 words)

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Musical letters from Abroad

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Just before leaving Frankfort, we had an opportunity of attending a matinee, or very select morning concert, in the saloon of the Mozart House. Such morning concerts are quite common in the larger German cities. An individual, having the means to do it, employs at his own expense an orchestra, or more probably a quartet, or quintet, makes out his own programme, and invites his friends to spend a couple of hours in listening to fine music. On the present occasion, an audience of perhaps two hundred persons (the most musical people of Frankfort) were brought together. Schindler, the biographer of Beethoven, Schmidt the pianist, and other distinguished persons, were present. The concert consisted of both vocal and instrumental music; and Music’s sister, Elocution, was also brought in, and lent her aid in the exercises of the occasion. The programme contained the following pieces (though not in the order in which they are here put down), viz.:—  Quintet (G. minor), Mozart, charmingly — I suppose it may be, said, perfectly played by Messrs. Wolff, Baldenecker, Posch, Drinnenberg, and Siedentopf. Quintet Movement, Mozart. This very beautiful movement by Mozart has not before been played since the year 1783. It has been recently discovered in Mozart’s own hand-writing, among his manuscripts, which for some twenty years have been in the family of André of Offenbach. It will shortly be published. Recitative and Air, with violoncello and obligato accompaniment, composed by John Sebastian Bach. This song is quite of a popular character, notwithstanding it is by Bach, reminding one somewhat of Handel’s most popular songs. It is a sacred song, from an unpublished cantate; but the Recitative and Song will soon be published. Part-Songs, for soprano, alto, tenor, and bass. Two songs were sung by a well-trained double quartet. A Poem on Mozart was well read by a lady, having a rich alto voice, Fraulein Gräemann. The effect of introducing this elocutionary exercise was very pleasing, and the example is a good one to be followed wherever a really excellent reader can be found to sustain the part. Strangers are sometimes invited to play in these concerts; and on the present occasion two pianoforte pieces, “Amitie pour amitie,” composed by the performer, and Doneyschock’s Rhapsodie in C. Minor, were played by Mr. William Mason of Boston, U. S. A.

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excerpt from 'Musical letters from abroad' pp. 151-2 (397 words)


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