Carnegie Hall (April 8, 1899)

Carreño performed with the New York Philharmonic under conductor Emil Paur. She performed Piano Concerto in A minor, op. 16 (Grieg, Edvard).

The concert began at 8:15 pm. Ticket prices ranged from $0.75 to $2; boxes were priced at $12 and $13. General admission cost $1.

Advertisement: The Sun, 5 April 1899, 10.

Advertisement: New York Times, 7 April 1899, 14.

Review: Musical America, 2 no. 15, 15 April 1899, 6.

Concert Program: US-NYcha

Kijas, Anna

Musical America, Vol. 2 no. 15, April 15, 1899.

Philharmonic Concert.

The last concerts this season by the Philharmonic Society took place at Carnegie Hall on Friday afternoon and Saturday evening of last week. There were fairly large and very enthusiastic audiences.

These concerts might well be named after Paur, for they resolve themselves practically into a display of that brilliant conductor's individual accomplishments.

One no longer goes to hear the Philharmonic Society but to discover what Paur can do with this symphony and that overture. It is as much a recital as are the affairs by Sauer, and Rosenthal, and Carreño, in which the player counts for more than the programme.

Beethoven's eighth symphony was read with all the energy and spirit which always dominate Mr. Paur's work, but there was lack neither of reverence nor artistic brilliance.

In Wotan's Farewell and the Magic Fire Scene, from "Die Walküre," sung by Meynheer Van Rooy, Mr. Paur was on his best orchestral behaviour, for he knew that comparisons with the work of Schalk, of the Metropolitan Opera House, would be unavoidable.

Mr. Paur more than held his own, however, and sent most of us off into musings about "what might have been" this season at our yellow opera house. It is not true to say that Seidl's successor has not been found.

Meynheer Van Rooy sang as if inspired (he generally does), and aroused demonstrative and lasting enthusiast.

Mme. Carreño, the third soloist of the occasion, played Grieg's Concerto in a manner that fitted well into the general frame of excellence.

The work, with its rather vague outline and free rhythmic and harmonic treatment is splendidly suited to Mme. Carreño's unconventional style, and her temperament and technic fairly reveled in the brilliant cadenzas and massed octaves and chords.

The lovely slow movement was played with melting tone and refined sentiment.

Few men could build up a more exciting and passionate climax than did Mme. Carreño at the close of the work.

Among female pianists she is sui generis.