THE CLAUS-REKEL CONCERTS.

Evening Star, Issue 3431, 19 February 1874, Page 2

THE CLAUS-REKEL CONCERTS.

The first of the series of concerts under the direction of Signor Biscaccianti took place in the Princess Theatre last evening. The pit and stalls were well filled, but strange to say, notwithstanding the celebrity of Jenny Claus as a violinist, the boxes were only moderately attended. This is the more unaccountable as, since the alterations in the Princess Theatre, it is the most elegant and comfortable theatre in New Zealand. _ We have no doubt, however, when tue merits of these concerts become known, every one will be anxious to enjoy a treat so rarely to be met with.

Hie artists are Mdlle. Jeannie Eekel, a soprano; Signor Cecchi, tenor ; Mons. Eekel, an able pianist ; and Mdlle. Jenny Claus, a most accomplished violinist. We need not dwell on the peculiar features of the vocal portion of the entertainment. Mdlle. Eekel sang with such taste and judgment as to earn for her the warm plaudits of her audience. She succeeds better in operatic music than in Scotch songs. In this she is not singular, for beautiful as much of the Scottish music is, it requires peculiar treatment, both of words and musical phrases, which Southrons or those trained on the European continent do not understand. We regret that Signor Cecchi was evidently suffering from hoarseness, which, with all his efforts, be could not overcome. Tins accidental impediment prevented his doing justice to himself; he deserves every consideration for his efforts to carry out the programme, and we are sure those who were present sympathised with him. _ Mons. Eekel is a pleasing performer on the piano, and several of the pieces, as arranged by him, evince considerable skill as a composer. His accompaniments were in excellent taste throughout. But the chief attraction was Mdlle. Jenny Claus. It is not often that ladies turn their attention to the violin as a musical instrument. We have, however, heard several, every one of. whom was above mediocrity. It has also fallen to our lot to have heard the finest violinists of this century, beginning with Paganini, so that we are enabled to compare them one with another. Judged by this, we have no hesitation in placing Mdlle. Jenny Claus iu the first rank. It is somewhat singular that an instrument which by a man is sometimes awkwardly handled, even by exquisite performers, is always graceful when played by a woman. The position of Mdlle. Jenny Claus’s left hand is exactly that which secures the utmost precision in stopping and the greatest freedom of movement on the strings ; and we venture to say that, last evening, it was scarcely possible for even the most delicate ear to detect a false note, no matter how rapid the passage nor how complicated the harmony- for, iu her hands, the violin not merely discourses the melody but introduces well-arranged and continued chords. Her bowhand is equally well directed. To those who are unacquainted with violin playing, it mav not perhaps be known that tone, feeling, and effect depend upon the management of the bow. Its skilful application to the strings creates the difference between the gut scraper and the violinist. The fingers may stop the notes exactly, but it depends upon the use of the bow whether the instrument shall charm by its sweetness or drive the listener to distraction by its harshness. Mdlle. Claus’s bow-hand is a model for the study of a violinist. The free wrist, the graceful curve of the arm, the lightness with which the bow is held, combine to give facility to the execution of the most brilliant passages ; and the result of this careful training it, evinced by the purity of tone she attains, no matter whether iu susor stacatto notes, whether murmuring softly in piano passages, or swelling grandly in the maestoso. The first notes she played displayed her complete mastery over the instrument, and before “ Yieux Temps” was brought to a close, it was evident that her knowledge of thefinger-board was perfect. Haydn’s sonata in C, concluding with a Hungarian dance, was peifectly given, the adagio cantabile, with its fine sustained notes, being especially effective. Hie concluding presto movement was a marvellous piece of instrumentation, on account of its rapidity and perfect bowing. Every note was sweet and distinct, and the same may be said of the arpeggio movements and passages iu harmonics. In compliance with a rapturous encore, Mdlle. Claus treated her audience with Auld Robin Gray,” which she played in a sweetly simple style that carried the feelings with it. In the part of the second verse she introduced a passage playet} ip octaves—a most difficult task, but one in which she succeeded perfectly. In the last part of the concert, selections from Flofcoiv’s *» Martha” were introduced, and we do not know whether we preferred “ M'appari tutt* amor” or the “ Last rose of summer." Each ip its way was perfect Iu response to a recall, Mdlle. Claps played Auld lang syne,” just one might say by way of showing what can be done with tlie popular old ballad. She will develop it more fully to-night. J We were glad to see Mons. Fleury in the orchestra accompanied by so effective a band. Their performances were not an unimportant part of the evening’s amusement, and drew repeated plaudits from those present. In conclusion, we may say that we hear many praise the violin who hear it only as a most effective instrument in an orchestra, or occasionally in a solo in the hands of a good musician ; but to know what it is capable of bein<«made—how the most exquisitely tender anti pathetic, the most majestic and grand, or the most lively and inspiriting tones can be drawn from its strings, the Claus-Rekel concerts must be visited.