CHAMBER CONCERT.

Evening Star, Volume 8505, Issue 8505, 2 May 1891, Page 2

CHAMBER CONCERT.

The concerted instrumental pieces chosen for Messrs Squariee and Barmeyer’s conceit last night were Mendelssohn’s trio (Op, 49) for violin, piano, and ’cello, and Schubert’s 1 Trout ’ quintet—a wise selection, we think, in each instance, as suited to an audience composed largely of persons who do like something with a traceable tune in it; and, moreover, each of these melodious compositions is known to some extent—the quintet as an old favorite, and the trio as a piece which created a considerable amount of interest when previously produced at these concerts, and has since been talked about and maybe looked into by many of our amateur players. The performers last night were the same as when the trio was given on a former occasion viz , Signor .Squarise, Herr Barmeyer, and Mr xMoes ; and we take leave to think that the later performance was the better one, in so far that the ’cello player has rapidly improved, especially as regards tone, by regular playing alongside the accomplished artists with whom he is associated. Owing in no small degree to this improvement in the fundamental part, everyone was highly pleased with the way this trio was given, and it was noticed with satisfaction that the performance was uniformly good throughout. The gay and inspiring allegro of the opening movement, the delicate and harmonious andante, and the rhythmical finale were given in capital style, while the difficnlties of the cross-writing in the scherzo did not confuse the players, though in one passage there was just the shadow of a momentary misunderstanding. The performance was, as a whole, highly artistic, and evoked so hearty a round of applause as to suggest that a second repetition of the trio would be acceptable. The quintet was undertaken by Signor Squarise (violin), Herr Barmeyer (piano), Mr E. Parker (alto), Mr Moss (’cello), and Mr Robertsbaw (bass), and, as the composition is well known, all that need Tie said is that it was conscientiously played from beginning to end, to the evident pleasure of those present. Uerr Barmeyer contributed as his solo Schumann’s ‘ Carnival,’ an extraordinary composition of the descriptive character, overflowing with varied themes on which a hundred pieces might be founded, and in the conception of which Schumann’s originating genius seems to have run riot. It is a solo which an ordinary pianist would not care to attempt; but Herr Barmeyer is not an ordinary pianist, and we do not know that we can speak more highly of his executive skill than by saying that his interpretation of the solo made its motive clear to the comprehension of the humb'est student in the hall. It is hardly possible, in a notice which does not profess to be technical, to say exactly how the ‘ Carnival ’ was played, but we strongly advise those who would like* to know to attend any oonoert at which it is to be repeated. Being loudly recalled, Herr Barmeyer played Raff’s ‘ Polka de la Reine,’ which was an acceptable addition to the programme. Signor Sqnarise’e solo was a fantasia on good old ‘ Trovatore,’ introducing ‘ 11 balen,’ * Ah ohe la morte,’ and other airs that are held in perpetual and affectionate remembrance, and in the interpretation of these we were provided with a special treat, the playing being markedly sympathetic and correct, and, in short, such as to give the hearer an assurance even from the outset that there would be no room for criticism. Signor Squarise is especially at home in work of this class. An undeniable encore was the immediate result, and the artist complied by playing a short piece by Giorza, which was also well received. There were three vocal numbers on the programme. Mr W, L. Salmond was down for one of these, Beethoven's ‘Adelaide,’and acquitted himself fairly well, thoughit was hardly wise to invite the criticism of a somewhat exactingandience, considering that Mr Salmond is—or so we understand—only a beginner. Mrs Murphy, whose appearance at these concerts is very welcome, introduced a song which we understand has only just come out: Book’s * When first the East begins to dawn.’ It is a graceful, flowing air, quite in the style which best suits Mrs Murphy’s flexible and well-tuned voice, and, though the songstress was just a trifle hoarse, she created such a good effect as to secure a recall, which was responded to by her singing ‘ Marjory’s only three,’ another song by Guy d’Hardelot, the only fault of which is that it is very short. The other item was a duet from ‘ L’Ebreo 1 by Mrs Murphy and Mr Smith, and this was sung remarkably well, indicating close study and ability to interpret the dramatic as well as the vocal side of this enjoyable extract from the famous opera. We were glad to see a large attendance in both parts of the house.