J. A. Fowler Pianoforte Soiree

“Mr. J. A. Fowler gave a piano soirée at Irving Hall last night and exhibited six of his most advanced pupils on the occasion. The programme was one well calculated to display their powers, and we must say that the six ladies did remarkably well. The overture to Masaniello was splendidly played. We seldom speak of musical instruments used in a concert, but the two last night were so bad that they oblige us to refer to them. Hardness of tone, clumsiness of action and unintelligibility of the bass formed their principal characteristics, and we doubt if New York makers would ever place such exponents of piano music before the public. The solos from Strakosch, Hoffman, Wallace, Wehil [Wehli], and Mills were charmingly played, considering the disadvantages under which the fair performers labored.”

“…Mr. Fowler’s meritorious soirée was devoted entirely to the pianoforte, six of his pupils performing the entire programme, which included such respectable pieces as a Concertstuck of Weber’s a concert polka of Wallace’s, gracefully played; the Zampa Overture, nimbly and just a little flippantly manipulated by eight delicate hands, Thalberg’s Norma Concertante, carefully done by four hands; Wehli’s ‘Trembling Leaves,’ prettily but hastily fingered; Mill’s Tarentella [sic], cleverly done. Mr. Fowler’s own vivacious Rosemary Waltzes, both good dancing movements, were played with great familiarity by eight hands; and thus concluded an experimental concert which, though having some of the invariable faults of its kind, was, nevertheless unusually correct and spirited.”

“…At Irving Hall on Tuesday evening six young ladies, five belonging to this city, and one hailing from Freehold, N. J., showed to what an artistic degree amateur musicians may arrive. These young ladies—all pupils of Mr. J. A. Fowler—performed a programme of piano forte music fully as difficult and elaborate as any presented to our public by professional artists. Weber’s celebrated ‘Concert Stück’ found very satisfactory interpretations; and Wehli’s ‘Trembling Leaves’ and Wallace’s second Concert Polka were received with special favor. The overtures for two pianos, eight hands, were rendered with a neatness and certainty which could hardly have been surpassed. Indeed, though at times in the fortissimo passages the vigor of the masculine touch was wanting, there was yet a strength of tone throughout the performance that lady pianists do not often manifest. The programme concluded with the ‘Rosemary Waltzes,’ a graceful composition by Mr. Fowler, performed by four of the young ladies on the admirable grand pianos of Hallet, Davis & Co.”

“…A concert by Mr. Fowler’s pupils, at Irving Hall, presented the spectacle of half a dozen young ladies ravaging Auber, Weber, Thalberg, Wehli, and Mills of their distinctive spirits and burying them all in a common grave of uniformity and mechanical goodness. An arrangement for eight hands of the Lichtenstein Waltzes, was sedately and evenly played, and was one of the best performances of the concert.”