★ CELIA SCHILLER, Piano
★ MAURICE KAUFMAN, Violin ★ JOHN MUNDY, ,Cello
M
ER
The Finest Ensemble of Its Kind”
HAILED WITH UNANIMOUS PRAISE
BY
NEW YORK CRITICS Aeolian Hall, Monday, Dec. 19th
Next Recital March 6th
CONQUERED
The Trio Classique picked no soft program on which, to rest their New York debut. Brahms and Goossens are an exacting pair, and even Saint-Saëns refuses to offer his distilled honey in the most convenient form.
There was real admiration, therefore, in the applause that greeted the new organization in which the veteran Maurice Kaufman plays violin, John Mundy, ’cello, and Celia Schiller, piano.
They conquered Brahms by sheer force of intelligent musicianship, but it was in the Goossens novelty, “Impressions of a Holiday,” that they were able to turn technical skill into the most witching of impressionistic sounds. . . . Miss Schiller drew shimmering tones from the keys, and the strings of Mr. Kaufman’s violin were always reliable, while the modest Mr. Mundy inserted those unmistakable sounds of direct beauty that one naturally associates with a well played ’cello.—Evening Mail.
SOUND MUSICIANSHIP
The new organization of chamber music played agreeably with many evidences of sound musicianship and interpretive understanding, a most attractive program.—New York Tribune.
INTELLIGENT INTERPRETATION
The new trio played with good attack and intelligent interpretation.
—The New York World.
PLAYED CHARMINGLY
The work of the Trio Classique showed good appreciation of the score, was charmingly played, thoroughly enjoyed and warmly applauded by the audience.—New York Herald.
ARDOR
The members of the Trio Classique played an interesting program with ardor and true musicianship.׳—The Sun.
THOROUGHLY IN ACCORD
The Trio Classique are evidently not only good musicians as individuals, but are thoroughly in accord with one another as an ensemble.
—Max Smith, New York American.
TASTE AND FINISH
Another new chamber music organization, calling itself the Trio Classique, made its first appearance last evening in Aeolian Hall, where there was a large audience. It may be hoped that the multiplication of such organizations means a real growth of interest in hearing chamber music as well as in playing it.
The performance of all three compositions was excellent in understanding, taste and finish of ensemble. Saint-Saëns trio came as a reminder of the composer’s death a few days ago. This trio has beauty of form, elegance and grace of contour. It is a fascinating piece engrossing the listener’s attention from beginning to end, and especially when it is played with so suitable a style as the three displayed.—Richard Aldrich, New York Times.
GOOD FROM BEGINNING TO END
When Celia Schiller, Maurice Kaufman and John Mundy began to rehearse the programme for their first concert here under the name of the Trio Classique, they did not dream that their third number, the trio in F major, opus 18, by France’s foremost musician, Camille Saint-Saëns, would serve as a memorial performance, four days after his death. This trio, however, did not need this historic event to make it interesting. It is good music from beginning to end. The andante, in particular, is a gem—a piece of ineffable charm, every bar an “intellectual tickle,” and rising in the middle section to a fine emotional climax.
The members of the new Trio Classique played this work in a way that brought out all its fascinating details. * It also gave an enjoyable performance of Brahms’ fine trio in C major, opus 87.
—H. T. Finck, Evening Post.
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