Thomas Sunday Evening Concert: 27th

Event Information

Venue(s):
Steinway Hall

Manager / Director:
Lafayette F. Harrison

Conductor(s):
Theodore Thomas [see also Thomas Orchestra]

Price: $.50; $1 reserved

Event Type:
Orchestral

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
12 March 2018

Performance Date(s) and Time(s)

03 Mar 1867, Evening

Program Details

New York debut of Marie Gilbert.

Performers and/or Works Performed

2)
Composer(s): Hiller
Participants:  Marie Gilbert
3)
aka My heart ever faithful; Aria from cantata no. 68
Composer(s): Bach
Participants:  Euphrosyne Parepa
4)
aka Farewell, ye limpid streams
Composer(s): Handel
Participants:  Euphrosyne Parepa
5)
aka Miserere Domine
Composer(s): Hullah
Text Author: Procter
Participants:  Euphrosyne Parepa
6)
Composer(s): Bott
Participants:  Carl Rosa
7)
aka Souvenir d'Haydn
Composer(s): Léonard
Participants:  Carl Rosa
8)
Composer(s): Méhul
9)
Composer(s): Meyerbeer
10)
Composer(s): Mozart
11)
Composer(s): Bach

Citations

1)
Advertisement: New York Herald, 03 March 1867.
2)
Advertisement: New-York Times, 03 March 1867.
3)
Review: New York Herald, 04 March 1867, 8.

“Musical. According to Mr. Harrison’s usual luck, the snow storm did not commence last night until long after Steinway Hall was crowded to the significant ‘standing room only.’ The twenty-seventh Sunday concert was remarkable principally for the debut of a new pianist, a New Haven lady, named Miss Marie Gilbert. She evinced extraordinary courage in selecting Hiller’s F minor concerto with orchestra for her first appearance in public. We are happy to record her success in this trying ordeal. She has strength and decision of touch, excellent technique and good conception, and we have rarely heard a lady give a more spirited interpretation of such an arduous work. She will undoubtedly prove a valuable acquisition to the concert hall. ‘Farewell, ye Limpid Streams,’ from Jeptha, Hullop’s [sic] Storm, and ‘My Heart Ever Faithful,’ by Bach, were the vocal pieces, and were all deservedly encored, as they were sung as no other artist in American [sic] can sing them.

Carl Rosa played Bott’s Adagio religioso and Leonard’s Souvenir d’Haydn in his own artistic style, and the orchestra gave selections from Mehul, Meyerbeer, Mozart and Bach. With such concerts and oratorios like the Messiah at the Brooklyn Academy to-night, the progress of music in this country will compare favorably with the most favored European capitals.”