Thomas Sunday Evening Concert: 28th

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)

10 Mar 1867, Evening

Program Details

The New York Times review claims the program concluded with “Mozart’s March Potpourri.” This was most likely one of the three potpourri marches by C.P.E. Bach that became popular on programs in 1867.

Dietz provided trumpet obligato for "Let the bright seraphim" and Eben provided flute obligato for "Lo! Hear the gentle lark."

Performers and/or Works Performed

3)
aka Gentle lark; Lo! Here the gentle lark
Composer(s): Bishop
5)
Composer(s): Mendelssohn-Bartholdy
Participants:  Sebastian Bach Mills
6)
aka Fantasie on L’Africaine; Reminiscences of L'Africaine
Composer(s): Liszt
Participants:  Sebastian Bach Mills
8)
aka Evening song; Abendlied; Abendgesang
Composer(s): Schumann
Participants:  Carl Rosa
9)
aka Lodoiska
Composer(s): Cherubini
Participants:  Thomas Orchestra
10)
Composer(s): Bellini [composer]
Participants:  Thomas Orchestra
11)
Composer(s): Kreutzer

Citations

1)
Advertisement: New York Herald, 08 March 1867.
2)
Advertisement: New-York Times, 08 March 1867.
3)
Announcement: New York Post, 09 March 1867.

"To-morrow night, at the same place [Steinway Hall], the twenty-eighth Sunday popular concert will be given. [Lists performers.] Madame Parepa will sing the great aria 'Let the Bright Seraphim,' with a trumpet obligato by Mr. Dietz, and 'Lo! Hear the Gentle Lark,' with a flute obligato by Mr. Eben. Mr Thomas's orchestra will assist, as usual."

4)
Advertisement: New York Herald, 10 March 1867, 1.

“Positively the last appearance at these concerts of Madame PAREPA ROSA, who will sing Handel’s great aria, ‘Let the Bright Seraphim,’ with trumpet obligato by Mr. Dietz.; ‘Lo! Hear the Gentle Lark,’ with Flute Obligato by Mr. Eben.”

5)
Review: New-York Times, 11 March 1867, 4.

“Mr. Harrison’s twenty-eighth Sunday Concert took place at Steinway Hall last evening, and had a surprising audience in the face of the disagreeable weather. The floor and galleries were crowded to their limits. The last appearance of Mme. Parepa at these entertainments announced for this occasion, had doubtless something to do with this particular crowd, but something of it is also to be ascribed to the favor into which Mr. Harrison has contrived to bring these Sunday recreations—a favor the permanency of which seems no longer doubtful. By constantly varying his programmes, which the ample resources at his disposal enable him to do with the best effect, Mr. Harrison keeps up their attraction. At each successive concert there is something to suit everybody’s taste, and the judicious admixture of high class music with music of a character less seriously to tax attention, has given to them a popularity which is beyond restriction. Indeed, Mr. Harrison is now the only concert giver of individual mark left us. He is in a position, then, of grave responsibility, yet he fills it so worthily that he must be looked upon by the determined amateur as a true benefactor. In the concert of last evening Mme. Parepa’s brilliant and facile voice was heard to its fullest expression in Handel’s florid aria, ‘Let the Bright Seraphim,’ and in the fervent devotional feeling which she gave to the vocal part of Gounod’s ‘Ave Maria,’ and in Bishop’s ‘Lo! Hear the Gentle Lark.’ The beauty of the former piece was much aided by the trim echo of Mr. Dietz’s trumpet accompaniment, and helped to secure it the imperative encore which it received. From Mr. S. B. Mills we had at this concert Mendelssohn’s grand fantasia for the piano, and Liszt’s reminiscences of ‘L’Africaine,’ interpreted with that silver clearness which is Mr. Mills’ charming individuality. Mr. Carl Rosa gave the adagio movement (with orchestral accompaniment) from the concerto in G minor by Sphor [sic], and Schuman’s [sic] dreamy ‘Evening Song,’ with tender softness. A portion of Mr. Thomas’ grand orchestra seemed to have been washed away in the storm, but the little band of brave ones that faced the night and the audience were heard at their best, in Cherubini’s ‘Overture to Lodiska,’ a selection from ‘Puritani,’ the overture to ‘A Night in Grenada,’ and Mozart’s ‘March Potpourri.’”