MDE. ARABELLA GODDARD'S CONCERT IN AUSTRALIA.

Evening Star, Issue 3223, 19 June 1873, Page 3

MDE. ARABELLA GODDARD'S CONCERT IN AUSTRALIA.

This marked event in the musical annals of Melbourne took place on the 2nd inst. at the Town-hall, before « very large audience, when Madame Goddard selected Thalberg’s “Masaniello” fantasia, the andante and allegretto movements from the “Ne ?lus ultra” sonata of Woelffl; and again, 'halberg’s fantasia on “ The Last Rose of Summer.” In the first she recalled to the long dormant memory of the listener the style of the master whose arrangement she reproduced so brilliantly ; the tuneful “ March ” and the quaintly brilliant “ Tarantella” from Auber’s opera were played simultaneously, the one against the other, with the same clear reading and perfect pre oision that distinguished the performance of Thalberg himself. So, again, in the fantasia on “The Last Rose of Summer,” the singing quality which that master was able abeve all others to impart to his touch in the performance ef such subjects, was reproduced with an effect which surprised the listener as being so sweet to the ear and so appropriate to the theme, so unexpected as coming from an instrument of percussion, and so rarely heard, even when players of great ability are the performers. It was on the conclusion of this last piece that the audience rose to the full understanding of the whole merits of the circumstance, and cheered the artiste most enthusiastically. There was no withstanding sttoh applause as this, and Madame Goddard sat down again to her piano, and gave Thalberg’s arrangement of “ Home, Sweet Home” with the same inimitable grace that distinguished her performance of the previous air. The bid tune, “ Life let us cherish,” was the theme of the two movements played by Madame Goddard from Woelffl’s “ Ne plus ultra” sonata, the familiar nature of the subject, and the perfect execution of the variations which were superimposed upon it, compelling the rapt attention of the whole audience.. As an executant she has attained by a life-long practice the mastery of the pianofore manual. Intervals of no matter wh&t unusual distance, passages in octaves * of any degree of rapidity, diatonic’ and chromatic scale passages of any kind whatsoever, ’ are to bo mastered—as Madame Goddard has mastered them—by assiduous practice; but after this comes the exhibition of a quality in which only a great artist excels, and in which Madame Goddard is super-excellent. It is in the “ touch” that lies the charm of this great artist’s playing. It is this quality, innate and not to be acquired, that makes the wires vocal -that impresses the player’s mind upon the merely mechanical instrument, and in so doing displays the possession ef a talent that would be genius if it could create as well as it interprets. To listen to Madame Goddard’s playing is to hear the realisation and perfect ’ expression in elegant- accent, just emphasis, and sympathetic tone of the idea of the composer whose work she may be reading. Another paper says “On concluding 4 The Last Rose of Summer,’ Madame Goddard was rapturously applauded, and the rounds of approbation did not cease until she responded to the vociferous recall. The success of the evening was Thalberg’s fantasia on “The Last Rose of Summer.” Madame Goddard was escorted to the platform by the Chief Secretary, and after rendering the theme and brilliant variations of the composer with marvellous grace and delicate execution, fairly brought down the house. Never Wore did such applause echo within the walls pf the Town-hall, and on the re-ap-pearance Of Madame Goddard on the platform, she was presented by Mr John Hill with a bouquet encircled in silken folds, upon wtiich were inscribed the name of the artist and her welcome to Australia. Still the applause continued, and loud and vociferous were tfte crjes of encore.”