Grand Musical Festival: 1st

Event Information

Venue(s):
Steinway Hall

Manager / Director:
Lafayette F. Harrison

Conductor(s):
Frédéric Louis Ritter

Price: $1, 1.50 ($5 for the entire series including a reserved seat)

Event Type:
Choral

Record Information

Status:
Published

Last Updated:
27 August 2016

Performance Date(s) and Time(s)

03 Jun 1867, 8:00 PM

Program Details

Oratorio and symphony festival.

Performers and/or Works Performed

Citations

1)
Announcement: New-York Daily Tribune, 28 March 1867.

“A new Forty-sixth Psalm for the whole choral and instrumental force of the occasion has been composed by Mr. Ferdinand Ritter, who will direct the small army of musicians engaged.”

2)
Announcement: New-Yorker Musik-Zeitung, 30 March 1867, 588.
3)
Announcement: New-York Times, 26 April 1867, 5.
4)
Announcement: New-York Daily Tribune, 29 April 1867.
5)
Announcement: New York Herald, 05 May 1867, 4.
6)
Announcement: New-Yorker Musik-Zeitung, 11 May 1867, 632.

Announced to start 6/2/67.

7)
Announcement: New-York Daily Tribune, 24 May 1867, 4.
8)
Announcement: New-York Daily Tribune, 24 May 1867, 4.

Discusses program for entire week.

9)
Announcement: New-Yorker Musik-Zeitung, 25 May 1867, 664.

(…) This is the first real “Musikfest” in this country. An attempt was made in Boston several years ago, to create a ‘Musikfest’ in the European style; however, it was very limited. The ‘Musikfeste’ of some German choruses before were often more a social than a musical event, as honorable as these efforts were. There will be no picnics, banquets, balls, and especially no speeches in this coming event. There will merely be music – much of it and a good selection. [following is a list of performed works and performers for all festival events – I am checking all events for the listings including comparing this list with the programs most likely published in the NYSZ, so I won’t list them here]

The New York Harmonic Society will also add support. The orchestra consists of 90 musicians, and the Grafulla’s military band of 65, who will perform on the famous Schreiber brass instruments. 

10)
Advertisement: New York Herald, 28 May 1867, 7.

Includes program for the week and detailed listing of performers.

11)
Announcement: New-Yorker Staats-Zeitung und Herold, 30 May 1867, 8.
12)
Announcement: New York Musical Gazette, June 1867, 61.

“to employ no less than 350 vocal and 185 instrumental performers”

13)
Advertisement: New-Yorker Staats-Zeitung und Herold, 01 June 1867.
14)
Announcement: New-Yorker Staats-Zeitung und Herold, 02 June 1867, 4.
15)
Announcement: New York Post, 03 June 1867.
16)
Announcement: New-York Times, 03 June 1867, 4.
17)
Announcement: New-York Daily Tribune, 03 June 1867.

Discusses week’s program.

18)
Announcement: New-Yorker Staats-Zeitung und Herold, 03 June 1867, 8.
19)
: 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., 03 June 1867.

“. . . went with Ellie to hear The Messiah at Steinway Hall.  This is the first of a series of performances, Oratorio and Concert, that is to continue for the next seven or eight evenings--a ‘Grand Musical Festival’ so called.  Tonight there was a crowded house of appreciative people, and Handel’s noble music was rendered with fidelity and spirit by a very massive chorus and orchestra.  Mme. Parepa-Rosa, Mrs. Seguin &c. excellent in their solo parts.

“I never enjoyed this great work so keenly.  It has taken me twenty five years to begin to see what it is, and I feel that I am still merely feeling its surface, and far from sounding all its depths.  Not merely because I am no contrapuntist and therefore cannot duly appreciate Handel’s control of all the resources of harmonic science (for one can feel the power of Dante or Shakespeare without being learned in the laws of the languages they used)--but because I find new and subtle beauties of expression in every solo & chorus of this composition every time I have the happiness to hear it.  Hoffman, with all his weakness for Verdi & Donizetti, seemed much impressed by certain of these great choral movements--especially by ‘The Glory of the Lord’ and ‘Unto us a Child is Born.’  The latter was rendered with great effect.  So was the matchless ‘starlight music’ of the Pastoral Symphony.  Beethoven certainly never produced ‘phrases’ more pungent than some that occur in the Messiah.  Notwithstanding its archaic form and its all-pervading fugue-ness, it bids fair to hold its high place for centuries.  Perhaps it may yet stand even higher than it does now, for it is especially alien to the depraved and effeminate musical tastes of this age.”

20)
Review: New York Herald, 04 June 1867, 10.

“The rain yesterday seemed not to exert the slightest influence in lessening the immense number of anxious patrons of the great musical festival at Steinway Hall. There could not have been less than three thousand people present, and people of fashion and refinement at that. The festival opened auspiciously with the Oratorio of the Messiah, Handel’s greatest and best known choral work, and the performance was deserving of the highest praise. Four of the best artists in America sustained the solo parts, and their clear, brilliant voices came out in striking relief against the background of the immense chorus and orchestra. The hall was beautifully festooned with wreaths of Bowers. The vast body of sound in the choruses seemed like the rush of a whirlwind, and the massive harmonies of the old master filled every nook, as if seeking a vent. We have described the sublime creation of music so often before that it is unnecessary to dwell on it further. These are not the ordinary musical entertainments of the concert season, but they form a grand national expression of the progress of music in this country.”

21)
Review: New York Post, 04 June 1867.

“The musical festival, so long announced and looked forward to with eager interest, made an auspicious beginning last evening.  Even the rain, which has spoiled so many of our pleasures of late, abated to a mist, and finally disappeared, to the great delight of the thousands who made their way to Steinway Hall.  The Hall itself was pleasantly relieved of its usual bare appearance by a liberal decoration of flowers tastefully arranged, and the vast audience, for which neither the seats nor standing room were adequate, seemed predisposed to enjoy fully the musical feast prepared for them.  The whole of the stage up to the highest perch on the right, was crowded with performers pleasantly familiar by sight to those who have been in the habit of attending our Harmonic Society’s concerts.

The previous performances of the ‘Messiah’ this season renders [sic] it unnecessary to say much as to the general effect of that of last evening, as given by many of the same performers.  It is unfortunate for us that neither Steinway, nor any other hall that we have, is large enough to afford stage room for such a chorus and orchestra as are demanded for the adequate interpretation of the great oratorios.  In the whole course of last evening’s performance there was not a single grand effect produced.  Even the ‘Hallelujah chorus’ did not seem to move the audience to anything more than a feeling of tolerable satisfaction.  This was due partly to the lack of sufficient orchestral and choral force, and partly to other reasons of which more hereafter.

This criticism is positive, not comparative.  Considering the limitations of space, and the impossibility of improvising very large vocal and instrumental forces, Mr. Harrison deserves credit for organizing so large a body of performers in so short a space of time.  To rightly bring out such works as the ‘Messiah’ there should be at least five hundred performers, and these should have been drilled systematically and in concert for at least one or two years.  When we have the great, free musical conservatory for which New York is well-nigh ready, we may begin to anticipate such performances as would satisfy even Handel himself.

Of the soloists Madame Parepa-Rosa was, of course, the grand and central star.  Her perfection and delicacy of execution, the marvelous ease with which she accomplishes the most difficult vocal feats, the silvery purity of her tones, and her winning personal appearance have made her a popular favorite in this country, only less admired than Jenny Lind.  So great an artist, however, demands a much higher standard of criticism than is generally proper.  If, with so perfect and wonderful an organ, and with such art and method in its control, she fails to move us in such arias as those which are assigned the soprano in the ‘Messiah,” it is our duty, however unpleasant, so say so, and this we believe to be the exact truth in regard to her performance last night.  We have heard the term ‘bird-like’ applied to her singing, and the epithet is too correct.  A bird trained to execute the music of ‘Rejoice Greatly’ would rouse almost as much of deep and true emotion as Madame Parepa.

We think that this deficiency was more or less evident to the audience last evening, as shown by the hearty applause given a much inferior artist, Mrs. Seguin, who fairly thrilled her hearers by her feeling interpretation of the sweet and tender sentiment of the aria ‘Come unto Him.’  Madame Parepa won loud demonstrations of applause by her wonderful power in sustaining high notes, but it was of a different character, and not on the whole so creditable.  Mr. Castle and Mr. Thomas both sang the numbers assigned them faithfully, smoothly and well, which is all we can conscientiously say. Mr. Castle’s tones are pure, even, carefully modulated, and always pleasant to the ear, but rarely, if ever, inspiring.

Mr. Ritter comes considerably short of our ideal of a conductor.  He is deficient in force and in that personal inspiration which one in his position should have to move masses of performers with precision and spirit.”

22)
Review: New-York Daily Tribune, 04 June 1867.

“The great music festival has opened auspiciously. Handel’s Messiah has appropriately led the week, and, like a giant, has run its course. Though liberally given during the remarkable season of music just closing, it was fortunate that it could be heard again, with reinvigorated effect, at Steinway’s Hall. Only the largest stage can be truly hospitable to such an oratorio as Handel’s, and we could even wish that Steinway’s had room and verge enough for all the festival guests that we could assemble to pay tribute to the choral music. So much has been written of The Messiah, as hitherto performed by the Trinity choir and Mr. Harrison’s army of singers, that very few words will satisfy curiosity as to its last night’s rendering. The presence of Madame Parepa-Rosa was, with strict meaning, a host [?]. In no music does she appear with finer grace and power than in Handel’s stately exuberant soli.  These require a bounteous vocal gift, and a dignity and appreciation foreign to the music of the day. Madam Rosa is wanting in none of the recognized essentials, while she enjoys a gift kindred with that of Lind and Sontag—the power to electrify her hearers by simple beauty of utterance. The marvelous clearness and sustainment of her lark-like high notes in the famous passage, “There were shepherds,” and in that other aria, the sublime of pathos, “Come unto him,” always carry her composer’s thought into pure ether, and awake her audience to the hight [sic] of pleasure. Mrs. Zelda Seguin, the most musical voice of the late English opera, was tastefully selected to sing Handel’s contralto.  Her pathetic expression of “He Shall Feed His Flock,” won her a deserved encore, but the grave and gentle aria, “He Was Despised,” was spoiled by a slightly theatrical phrasing. The time of the choruses was better, in several respects, than Conductor Ritter has managed on previous occasions. “Behold the Lamb of God,” though not the most striking passage quotable, was as roundly and thoroughly discoursed as any that we can name. Greater and distincter emphasis is still wanting in the more involved and fugual parts; but this is a common and inevitable objection, which will not greatly impair the credit due Mr. Ritter as a zealous director. Mr. William Castle and Mr. Thomas, we must not omit to record, sung their parts with correctness, if not with visible feeling or animation.” [Discussion of the decorations put up in the hall and of the necessity of opening the windows for air circulation. Preview of program of second concert]

23)
Review: New-Yorker Staats-Zeitung und Herold, 04 June 1867, 8.

The impresario Harrison was probably less interested in the artistic and more in the economic aspect of this concert. He speculated correctly. Despite the program offering nothing new or exciting, and the venue being only cheaply decorated, the theater was completely filled that night long before the start of the concert. The performance was not even good. Orchestra and chorus seemed insecure due to insufficient preparation. The choral performance lacked fine nuances. Parepa and Seguin, with their beautiful voices, performed the best of all the soloists. The audience received the concert with reservation.

24)
Review: New-York Times, 05 June 1867, 5.

“The first and second performances of Mr. Harrison’s Musical Festival at Steinway Hall, have been given to audiences of a large and universal character.  This ready public appreciation of an elevating recreation must satisfy everybody (as it must confirm Mr. Harrison in his belief) that the best order of entertainments will be appropriately patronized whenever those may be appropriately presented.

Handel’s ‘Messiah’—that ‘Christian epopee in musical sounds,’ as Herder calls it—constituted the opening programme in Mr. Harrison’s Festival. Those who are fond of noting interesting coincidences may be gratified to know that June 3 (1742) was also the date of the second performance which this since famous Oratorio ever received in public, being then given under Handel’s personal supervision, and with the composer in the seat which Mr. Connolly occupied last night—that is to say, before the organ. This sublime work, which Handel had been but twenty-three days in writing, was born of that great master’s disappointment and despair. Sick of the degraded public taste which then declared itself for decorations, costumes and ballets, and utterly broken by the expensiveness of trying to supply those in connection with his operas, Handel turned from baser duty to sacred music, ‘as best suited’—to use his own words—‘a man descending in the vale of years.’ The return to the ‘Messiah,’ and to oratorios generally at this time, therefore, when the cause of legitimate amusement seems almost hopeless, marks another pleasing coincidence. There is one advantage which grand music, such as these oratorios offer, has over what Schoelcher calls ‘Other productions of the artistic faculties of man.’ People never tire of it. It is like daily bread, an aliment always new, always wished for. This may be particularly said of ‘The Messiah.’ The oftener it is heard the greater pleasure one takes in hearing it again. It charms in proportion as you become familiar with it, and it must always affect those who have ears to hear and hearts to feel the everlasting beauties of deep pure melody and true expression. Of the particular performance under notice, it does not seem inapropos to quote the first notice of the ‘Messiah’ that appeared in a public print after the original production of the work. With a single alteration it might as well refer to the entertainment which Mr. Harrison’s interest in the cause of true art gave to the New-York public Monday evening, as without doubt it did to the performance in Fishamble-street in 1742. The article which appeared in the Dublin News Letter states that ‘on Tuesday last Mr. Handel’s sacred grand oratorio, ‘The Messiah,’ was performed in the New Music Hall; the best judges allowed it to be the most finished piece of music. Words are wanting to express the exquisite delight it afforded to the admiring crowded audience. The sublime, the grand, the tender—adapted to the most elevated, majestic and moving words conspired to transport and charm the ravished heart and ear.’

Thanks to the very perfect treatment which the oratorio received at the hands of Mme. Parepa-Rosa, Mrs. Zelda Harrison Seguin, Mr. Wm. Castle, Mr. J. R. Thomas and the Harmonic Society, the audience at Steinway Hall Monday night was well initiated into the countless beauties which keep up its interest from one end to the other.  The incomparable pathos of Mme. Rosa’s delivery of the closing aria of the first division, “Come unto Him,” caused it to be redemanded; and, in due course, “How beautiful are the Feet,” and “I know that my Redeemer liveth” melodiously engaging as those crowning numbers were given with that fullness of vigorous life, combined with ever prominent grace, which marks all that this irresistible vocalist utters.  The expressive simplicity of Mrs. Seguin’s style of singing was most effective in the twin arias, “Then shall the eyes of the blind,” and “He shall feed His flock;” in those she was eagerly encored.  The style in which Mr. Castle has hitherto been accustomed to sing is very different from oratorio style, and therefore the genuine feeling which he infused into his delivery of the recitation and air, “Thy Rebuke has Broken His heart,” was as surprising as it was gratifying.  The Harmonic Society, which began its duties timidly, and was rather too cautious in “The Glory of the Lord,” grew, however into better time as it warmed to the other houses, and the “Hallelujah” and “Amen” had their proper expression. We say warmed advisedly, for such a result was unavoidable under the circumstances and the state of the atmosphere. The gentlest infusion of the icy airs of Walrussia [Alaska] into Steinway Hall on Monday evening would not have been scorned by the most ardent admirers of the airs of Handel. Mr. Ritter, who conducted, looked nervous and warm, but happy. Mr. Colby was the pianist.”  

25)
Announcement: New-York Times, 06 June 1867, 5.
26)
Review: New York Herald, 07 June 1867, 6.

[Not directed toward a specific concert]

“We have not yet learned how to get up “musical festivals” in the European sense of the term. Everything of the kind that has been attempted here has been on so small a scale and so inefficiently managed that it has neither been satisfactory to the public nor to its promoters. The so-called festival which is at present being held in this city is no improvement on the general character of these enterprises. It is poverty-stricken in its arrangements, includes but few first class performers, and is but indifferently attended. . . . The time has passed by when third rate fiddlers and small music teachers can undertake to humbug us with their attempts at management. . . . Mr. Grau, for instance, never announces anything that he is not sure to be patronized, because he never abuses the trust reposed in him. . . . With the other class of managers the order of things is reversed. They are bent upon making money whether they please the public or not, and the consequence is that in nine cases out of ten they fail in their object. . . . In regard to musical festivals, there are but few persons in the country who are competent to get them up. . . “

27)
Review: New-Yorker Musik-Zeitung, 08 June 1867, 696.

The performance in general was only mediocre. The greatness of the work that opened the event (Händel’s “Messiah”) captured the hearts of the audience; however, Händel’s oratorios require subtle nuances in the choral parts, which cannot be achieved with only one rehearsal. Therefore this was a poor performance, as were all other choral pieces by Händel and Mendelssohn.  The solos were much better. Parepa-Rosa is an excellent oratorio singer, and also Selda Harrison Sequin (sic?), whose soft and beautiful alto voice won the audience’s affection immediately after her first recitative and aria; less successful were Castle and Thomas.

28)
Review: New-Yorker Staats-Zeitung und Herold, 09 June 1867, 4.

(…) Since the Harmonic Society has performed Händel’s “Messiah” several times before, we expected a more confident and skillful performance. Even the big Halleluja, usually quite effective to excite the audience, moved along without a highlight moment. Chorus and orchestra were simply not prepared well enough to give this piece full justice. Among the soloists Parepa-Rosa stood out. The wonderful lightness with which she overcomes the technically most difficult passages, her tasteful performance, and the purity and pleasing sound of her voice moved the audience to lively applause. However, she was not able to create the compelling effectiveness an artist of her ranking can achieve with the soprano arias of the “Messiah”. (…)

29)
Review: New York Musical Gazette, July 1867, 68.

“Of course the notable event of the past month has been the Great Musical Festival, as it has been so generally called.  It should be observed that there is a world wide difference between a great Musical Festival and a Great Musical Festival.  To extend the honor of a capital letter to the adjective, implies wonderful things.  It shows that the greatness is not a mere accidental appendage, but a constituent part of the thing itself—in fact, that is no more Festival than it is Great.

“The success of this undertaking seems rather remarkable.  Who can say that the people in this vicinity do not love music, and still more, good music, when a week like this follows a season of such prodigal patronage of musical privileges as the past winter has witnessed.  During a part of the week the weather was fearfully hot, and a fine opportunity was given for a display of the heating capacity of Steinway Hall.  It proved to be immense.  If the development of caloric was their object, the builders of this Hall have achieved a wonderful success, but if their plans included any idea of proper ventilation, their failure has been correspondingly great.”