Organ and Vocal Concert

Event Information

Venue(s):
Church of the Holy Trinity

Price: $1

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
3 February 2016

Performance Date(s) and Time(s)

29 May 1867, 8:00 PM

Performers and/or Works Performed

1)
LIST OF PERFORMER(S)/ORGANIZATION(S)
Participants:  James Ernest Perring;  Sophie Mozart;  [organist, composer] Williams;  John Rogers Thomas;  George Washbourne Morgan
2)
Voluntary, organ
Composer(s): Williams
Participants:  [organist, composer] Williams
3)
Fugue, organ, BWV 552, E-flat major (St. Anne)
Composer(s): Bach
Participants:  George Washbourne Morgan
4)
"By the sad sea waves," [arr. Morgan]
Composer(s): Benedict
Participants:  George Washbourne Morgan
5)
Guillaume Tell, overture [arr. Morgan]
Composer(s): Rossini
Participants:  George Washbourne Morgan
6)
Fantasia, organ, unidentified
Composer(s): Morgan
Participants:  George Washbourne Morgan
7)
Samson, "Let the bright seraphim"
Composer(s): Handel
Participants:  James Ernest Perring
8)
Schöpfung, Die, "Mit Würd’ und Hoheit angetan"
aka In native worth; Schopfung. Mit Wurd und Hoheit angetan
Composer(s): Haydn
Text Author: Swieten
Participants:  James Ernest Perring
9)
Sabbath melodies, "Ruth and Naomi"
Composer(s): Topliff
Participants:  James Ernest Perring
10)
"Rocked in the cradle of the deep"
Composer(s): Knight
Text Author: Willard
11)
"My soul to God, my heart to thee"
Composer(s): Clapisson
12)
Work, unidentified
Composer(s): Donizetti

Citations

1)
Advertisement: New York Herald, 28 May 1867, 12.
2)
Advertisement: New-York Times, 28 May 1867, 7.

Lists the composers.

3)
Review: New York Herald, 30 May 1867, 7.

“The Church of the Holy Trinity, on Madison Avenue, was pretty well filled last night on the occasion of the opening of Erben’s new organ.  The Byzantine style of architecture which characterizes this church causes the works of the instrument to spread themselves considerably in every direction, but without detriment to the tone and power, which are very good.  Mr. Williams opened the concert with a voluntary of his own.  George Morgan played Bach’s fugue in E flat, the Tell overture, and ‘the Sad Sea Waves’ in his own inimitable style.  Mrs. Mozart sang like a true artist, as she always sings, and she was ably assisted by Messrs. Perring and Thomas.  The vocal programme was strictly sacred in character.”