Harrison Sunday Concert: 4th

Event Information

Venue(s):
Steinway Hall

Manager / Director:
Lafayette F. Harrison

Conductor(s):
Theodore Thomas [see also Thomas Orchestra]

Event Type:
Orchestral

Record Information

Status:
Published

Last Updated:
27 August 2016

Performance Date(s) and Time(s)

27 Oct 1867, Evening

Program Details

De Meyer's Fantasia on Verdi’s Il Trovatore: "first time."

Performers and/or Works Performed

1)
LIST OF PERFORMER(S)/ORGANIZATION(S)
Participants:  Thomas Orchestra;  George W. Colby;  Eliza [contralto] Lumley;  Carl Rosa;  Leopold de Meyer
2)
Orfeo ed Euridice, aria
aka Orphée et Eurydice, aria
Composer(s): Gluck
Participants:  Eliza [contralto] Lumley
3)
Cenerentola, La, "Non più mesta"
Composer(s): Rossini
Participants:  Eliza [contralto] Lumley
4)
Fantasia on Verdi’s II Trovatore
Composer(s): Meyer
Participants:  Leopold de Meyer
5)
Sonaten und Partiten, violin, BWV 1001-1006. Partita, no. 2. Chaconne
aka Chaconne, unidentified
Composer(s): Bach
Participants:  Carl Rosa

Citations

1)
Advertisement: New York Herald, 23 October 1867.
2)
Advertisement: New-York Times, 23 October 1867, 7.
3)
Advertisement: New-Yorker Staats-Zeitung und Herold, 27 October 1867, 8.
4)
Review: New York Herald, 28 October 1867, 5.

“The fourth Sunday concert was crowded last night, Weber, Bach, Gluck, Mozart, Rossini, Liszt, and De Meyer were represented. Mme. Lumley, an excellent contralto, made a very successful appearance in an air from Gluck’s Orpheus and Non piú Mesta. Messrs. De Meyer and Carl Rosa played, the first his Trovatore fantasia and the second Bach’s chaconne. Thomas’ orchestra and G. W. Colby also assisted.” 

5)
Review: New-York Times, 28 October 1867, 4.

“Mr. HARRISON’S Sunday Concert at Steinway Hall was most satisfactorily attended last evening. Mme. LUMLEY, Mr. DE MEYER, CARL ROSA and Mr. THOMAS’ orchestra took the prominent part in an exceedingly entertaining programme, which was entirely interesting without embracing any strictly novel features. The ‘Trovatore Fantasia’ by DE MEYER, which was heard here for the first time, was characteristic both as a composition and as a performance.”