Philharmonic Society of New York: 4th

Event Information

Venue(s):
Steinway Hall

Conductor(s):
Carl Bergmann

Event Type:
Orchestral

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
22 January 2016

Performance Date(s) and Time(s)

09 Mar 1867, 8:00 PM

Performers and/or Works Performed

2)
aka The Magic Flute; Zauberflote, Die
Composer(s): Mozart
3)
aka Deserto in terra; On earth alone; romance ; romanza
Composer(s): Donizetti
Participants:  Guglielmo Lotti
4)
Composer(s): Mozart
Participants:  Guglielmo Lotti
6)
Composer(s): Beethoven
7)
aka Lamento e trionfo; Klage und Triumph
Composer(s): Liszt

Citations

1)
Article: New-Yorker Musik-Zeitung, 23 February 1867, 457.

Lotti’s return from Mexico. The singer Lotti will perform in the next Philharmonic concert for the first time since he came back from Mexico. His voice has become stronger, yet has not lost its tenderness.

2)
Advertisement: New-York Times, 07 March 1867.

Promises “eighty performers.”

3)
Advertisement: New York Herald, 08 March 1867.
4)
Announcement: New York Post, 09 March 1867.
5)
Announcement: New-York Times, 09 March 1867, 4.
6)
: Strong, George Templeton. New-York Historical Society. The Diaries of George Templeton Strong, 1863-1869: Musical Excerpts from the MSs, transcribed by Mary Simonson. ed. by Christopher Bruhn., 09 March 1867.

“To Philharmonic Concert, Steinway Hall. . . Overture to Zauberflote.  I have known it for years but am only just beginning to see its wonderful power and beauty. Concerto for piano and orchestra, Chopin, Op. 21, Mills at piano. Some of it quite nice but as a whole tiresome. Beethoven’s Symphony in D (No. 2)--gorgeous and glorious. Two solos by Signor Lotti--viz. certain Donizetti trash and also Il mio Tesoro from Don Giovanni, fairly sung.  For finale, Liszt’s ‘Poeme Symphonique Lamento e Trionfo.’ The Lamento was expressed by dreary phrases on the celli and double basses that seemed suggestive of a cow in a strange lane seeing an abducted calf and seeking it in vain. The Trionfo by crashing bass chords illustrated by fantasia, on the triangle apparently descriptive of the triumphant Hero with his hands in his pockets, jingling his pennies and his bunch of keys. A long rigmarole on the 4th page of the programme informed mankind that all this rubbish meant something about Tasso! The production of this trash on the same ev’g with works of Beethoven and of Mozart disgraced the Philharm. Soc’y and its endurance without audible protest disgraced the audience. It was as utterly worthless and vulgar. It lasted near half an hour and was made up of the feeblest musical conceptions reiterated over and over again--worked to the bone as it were—without novelty in their multitudinous reproduction (and this just after we had experienced Mozart’s marvelous power of varying a single brief phrase with marvelous effect, in the Zauberflote overture!)—and it consisted also of the coarsest contrasts of the crudest musical color. When the contrabassi had worked dolorously for five minutes, one surely foresaw an inevitable period of trombone and [ophicleide ?], trumpet and what not—cymbals included—prestissimo and fortissimo. It was most scandalous, offensive and exasperating. The Abbé Liszt has evidently studied the resources of the orchestra much more carefully than e.g. Verdi has condescended to study them. But his study has only made his malfeasances more painful to his hearers. Neither can be called a composer. Each is entitled to a certain place of degradation in the Abyss as an anti-musician—or as a producer of work not merely alien, but positively hostile to Music. Which of them should take the lower place is a question I have no time to discuss, for the library clock strikes Twelve.”

7)
Review: New York Post, 11 March 1867.

“Amusements. Other Musical Matters. The concerts of the Philharmonic this season have uniformly been of such a character as to elevate and instruct the popular musical taste, and have thus performed a valuable service. The last, given on Saturday night under Mr. Bergmann’s direction, was not an exception to this remark, although we are unable to commend highly the prominent soloist of the occasion, Signor Lotti, who seems inadequate to the proper interpretation of the florid music assigned him. The orchestral performances, as usual, betrayed thorough study under skilful [sic] direction, a mastery of execution, and a great degree of true artistic spirit. Mr. Mills, who is a master in all technical difficulties, fails to a certain extent from a lack of power to impart life to his performances.”

8)
Review: New-York Times, 11 March 1867, 3.

“The Philharmonic Society gave their fourth concert this season at Steinway Hall on Saturday evening. There were four orchestral pieces in the programme, and two vocal—for which Signor Lotti was employed. Of the leading numbers of the former Chapin’s [sic] second concerto for piano and orchestra in F minor, first secured the general attention, and to his duty Mr. S. B. Mills gave all that firm fine touch for which he is so celebrated. The Spaniards have a proverb that the violin has a soul. In Mr. Mills’ hands the piano seems to be similarly endowed. It is no instrument. It seems to be a sentient creature, which he takes into his confidence, and which, at his bidding, gives intelligent expression to his own concerts or his composer’s thoughts. The symphony No. 2 in D, with which the second part opened, sustained the reputation of the Society as a faithful oracle of the immortal genius of Beethoven. The notes of this symphony throb through the heart until the pulsations in our breasts leap on still with the waves of sound; in the majestic solemn opening; in the larghetto with its melancholy memories of pleasure; in the finale, which seems neither the unnatural excietement of happy scenes, feverishly recalled than the new pleasures of the present. The newest performance of the Society was Liszt’s symphonic poem ‘Tasso,’ which closed the concert; it was exceedingly closely given, and could scarcely be surpassed for accuracy of time. The lament and triumph of ‘Tasso,’ which the Abbe has here striven to render in music, exhibits this peculiarity; the first which is the portrayal of the earthly tribulation of the great poet, fulfills the craving of expression of supernatural glory, is wholly earthly in its triumphal character. Mr. Carl Bergmann conducted as usual, and with his usual precision.”

9)
Review: New-York Daily Tribune, 11 March 1867, 4.

“Music. The Philaharmonic Society gave on Saturday night, under Carl Bergmann’s vigorous baton, the fourth grand programme of its twenty-fifth season. Signor Lotti’s part in it was not an unpleasant one—Donizetti’s romance, ‘Deserto in terra,’ from Don Sebastian, and Mozart’s lovely cavatina, ‘Il mio Tesoro,’ and it was otherwise interesting, because Lotti had returned to us after a considerable absence, and is to leave us very soon. We do not accept his vocal offering with cordiality, simply because Lotti himself is not cordial; his execution of florid passages (Mozart’s, for instance) are weak and inept occasionally; but he has a clear sweet tenor and a good taste. Chopin’s Concerto, F minor, op. 21, and Beethoven’s Symphony No. 2 in D were the two finest studies of the evening. There is just enough orchestral shading in Chopin’s work to bring out in gentlest relief the liquid beauty of the piano—at one time a murmur of the violin, so faint that it seems silence itself described—such a contrast to the poetry of the piano as dusk is to growing twilight and gathering stars. Of its three movements, two of which are majectic or lively, the Larghetto appears to contain the well-spring of beauty. It is delicate, fantastic, tender as any piano passage outside of Beethoven; and that Mr. Mills played it with such singular purity of expression is highly to his credit. Beethoven’s Symphony No. 2 is one of his best as it is one of his most familiar works—and here, too, is a Larghetto even more beautiful than Chopin’s if comparison were allowable. It is conceived in a large, and joyous mood, and is abundant in the elements of grace and sweetness. Finally, we heard Liszt’s Tasso, a lament and a triumph in [?] of the unhappy bard, as Liszt himself describes it. Compared with Chopin or Beethoven, Liszt’s impetuous genius does not show to the best advantage; yet his Tasso is a remarkable symphonic poem in its way. We were going to call it a porridge—but that it is not, whatever some of Liszt’s other compositions may be. Just a bit theatrical, for the habit or the nature of Liszt’s invention was an appeal to applause. Tasso is to be liked for its appreciation of the orchestra and the story. He declares that he borrowed the form of his tone-picture from reality, and chose for its theme a melody which three centuries after the poet’s death he heard the Venetian gondoliers singing, to the first strophes of Tasso’s ‘Jerusalem.’ ‘The motif,’ says Liszt, ‘has a slow, plaintive movement, the sensation of sighing sorrow, or monotonous mourning, the gondoliers, however, by the drawling of certain notes, give it a peculiar coloring, and the mournful drawn-out tones heard in the distance, produce an effect not dissimilar to the reflection of long stripes of fading light upon a pure mirror of water. This is true enough, every word of it, and it is the reflection of this peculiar idea on Liszt’s poem that gives it half of its charm. The jingle of bells intended to convey an effect of festivity and triumph, comes afterward to spoil the poetry of the lagoon-song. To celebrate Tasso’s spiritual triumph with bell-ringing—what could be more theatrical? The concert was altogether such a success as the able instrumentalists of the Philharmonic are certain to achieve at any time.”

10)
Review: New-Yorker Staats-Zeitung und Herold, 11 March 1867, 8.

The attendance for the concert was very good. Mozart’s overture was conducted in a beautifully tender fashion which resulted in Bergmann breaking the tradition of keeping the length of an overture within 5 minutes. Beethoven’s symphony and Liszt’s piece were performed equally well. As much as it is enjoyable to listen to these old familiar pieces, it was originally the intention of these concerts to also give consideration to the lesser known works of the new composers of the “Neuzeit” (modern times).

Lotti’s performance avoided any harshness in his voice; he sang softly and beautifully. The modern interpretation of Mozart’s aria has made it into a bravura aria, which goes very much against our feelings. Mozart was hardly thinking of outer effects when he wrote this piece, otherwise it would have been clearly indicated in the score. Both of Lotti’s performances received much applause. Mills’ performance was as usual clean and accurate. It is never chaotic so that one has to look for the core of the piece in vain; his presentation is always calm, attentive, yet never cold. It is evident that he is an artist who studied earnestly to bring him to this level. He did well to depict the “light and shadow parts” of the piece; however, the finale “allegro vivace” could have been played a little faster and more capriciously.

11)
Review: New-Yorker Musik-Zeitung, 16 March 1867, 504.

We did not hear anything new; however, we are enjoying some repetitions. Beethoven’s second symphony was not performed in a while…However, Mozart’s Magic Flute in the program was a disappointment. We read so much in the German papers about new composers and new compositions. Why are these not performed? We know that Bergmann is very supportive of introducing new, contemporary works. Hopefully the rest of the program committee will join him in this endeavor. This is essential to secure the position of the Philharmonic Society.

S. B. Mills’ performance was excellent. Lotti has given better performances.

12)
Review: Dwight's Journal of Music, 30 March 1867, 7.

Lists works performed; a one-line review: “The orchestral performance, under Bergmann, is said to have been admirable.”

13)
Review: New York Musical Gazette, April 1867, 45.

“The fourth concert of the Philharmonic Society, given March 9th, was an extraordinarily good one. Beethoven’s symphony No. 2 in D, was given con amore by the excellent and well-trained orchestra. It is a luxury far beyond the pen’s description to have the thoughts of that great composer fall so delightfully upon the senses as they are made to do by the faithful interpretation of Mr. Bergman’s orchestra. It gives one a feeling of positive gratitude to the performers who are the means through which so much pleasure is communicated. Mr. Mills’ rendering of Chopin’s second concerto in F minor, for piano and orchestra, was beyond praise. He is always the same careful artist—pains-taking to the last degree in his preparation and conscientious in his performance of everything he produced before an audience. Liszt’s symphony, or symphony poem, ‘Tasso,’ was also thoroughly enjoyed.”