Church of the Covenant Organ Exhibition

“Last evening an organ exhibition took place in the Church of the Covenant, at the corner of Thirty-fifth street and Park avenue. Notwithstanding the inclemency of the weather—rain falling in torrents—the number of persons present was tolerably large. The occasion was availed of to test the powers of the new organ built for the church by Mr. L. U. Stuart, of this city; . . . Judging from the applause that followed each piece the audience was pleased with the performance, which did not close until near ten o’clock.” 

“Not withstanding the terribly inclement night of Thursday, a very large audience was gathered together at the above church, allured by the attractions of the new organ just completed by Mr. Levi U. Stuart of this city, and the expected performance of two of our finest organists—Mr. George F. Bristow and Mr. George W. Morgan. The Covenant Church is situated on Park ave. (which is fast becoming magnificent with costly sacred edifices), and is remarkable for beauty of design and finish—equaling any specimen of its class in the city. The organ just completed for its use is comparatively small in scheme, but is large and truly grand in many essential features, and particularly in orchestral effects. Mr. L. W.[sic] Stuart, the builder, is justly favorably known by the enlarged organ in the Tabernacle Church in Sixth-ave. The front of the organ is unique, yet tasteful and extremely pleasing to the eye; but the decorative part of it has frequently embarrassed with its debris the effective working of this really noble instrument, particles getting into its mechanism, and so either clogging the pipes, or rendering the mechanism partially unmanageable. An accident of this kind occurred on Thursday evening, in the midst of Flotow’s overture, choking the palette of the swell and compelling Mr. Bristow to stop in his performance until it was remedied. This fact will account for certain apparent blemishes in the utterance and mechanism by fixing the true cause. We may further remark that, placed as the organ is, it is subject to constant and radical changes of temperature, frequently throwing the reeds out of tune—a temporary blemish utterly beyond the control of the builder.

The compass of this organ is from C C to G, and on pedals from C C C to G. It has 14 stops on the great organ, 9 stops in the swell, and 6 in the pedal organ. Its solid, compact tone, and true musical strength when the full organ is used amazes all who merely consider its nominal capacity, for it surpasses in power, as heard in that large church, any organ in this city except that in Trinity Church. The great organ is truly magnificent, and the diapasons throughout are what their name imports, and make the instrument the noble accessory to religious service, which it should be to fulfill its purpose. We remarked upon this fine specimen of Mr. Stuart’s ability in organ building, that his idea of voicing is sanctioned by the experience of many years, and if strong, telling style of voicing be followed, time’s mellowing influence will blend and soften them into sweetly melodious utterance. At present some mixtures appear shrill or even hard without a grand diapason being used to subdue and conform them into a harmonious and majestic ensemble. Taken as a whole and freely accepting for individual stops, like the cornet, Mr. Stuart’s policy in shaping their utterance, we can find no blemish to displease even fastidious ears, and its general effect must be conceded by all intelligent observers to be remarkably fine, complete and grand indeed.

The sections made by the two distinguished organists, who displayed all the points of this fine instrument were admirably suited to the purpose. Mr. Bristow played the overture already named, Gottschalk’s ‘Slumber Song,’ and a pot-pourri on themes from Lucia, Don Giovanni, Euryanthe, and the Last Rose of Summer, in masterly style—so ready, free, and masterly as to surprise most present, as he, not making solo performance a specialty, was until then, scarcely known beyond mere church service. His performance of the pot-pourri commanded general admiration, and called forth unanimous and determined encore, which he replied to in the briefest way he could in accordance with courtesy. His performance throughout was a marked and decided success. Mr. George W. Morgan played Bach’s Fugue in E-flat, his admirable ‘William Tell’ overture, and selections from Gounod’s Faust, concluding with the well-known military chorus. His performance of the overture made a profound sensation. He has played it in concerts in this city a hundred times before, but we have never heard him produce such broad and telling effects in that piece as on this occasion. He played then all he knew; he was spurred on to his uttermost efforts, and the result was one of the most brilliant essays he has yet made in New York. He was, of course, rapturously encored when he played his charming arrangement of the beautiful ballad, ‘By the Sad Sea Waves.’

Mrs. Maria [sic] Abbott was suffering perceptibly from a severe cold, but that discomfort could not overshadow entirely her admirable style and beautiful voice. She sang with her usual grace and ease, but the want of concordance between the singer and accompanyist [sic] showed the want of rehearsal in the organ loft so necessary to a mutual understanding. Mr. Cooper, the basso of the church, was also suffering from a severe cold, but he battled through it very bravely and very creditably.”