Central Park Band Concert

Event Information

Venue(s):
Central Park Mall

Conductor(s):
Harvey Bradley Dodworth

Event Type:
Band

Record Information

Status:
Published

Last Updated:
12 April 2020

Performance Date(s) and Time(s)

06 Jul 1867, 4:00 PM

Performers and/or Works Performed

2)
aka Park march, The; Central Park; Central Park music; Salutory park march; Salutary park march; Concert-Signal March; Proem; Attention; Introductory march
Composer(s): Dodworth
3)
aka Pretender; Pratendent, Der
Composer(s): Kücken
4)
Composer(s): Dodworth
5)
aka Over land and sea
Composer(s): Gung'l
7)
Composer(s): Unrath
8)
aka Amour fugitif; Acacreon; Anacreon, overture
Composer(s): Cherubini
9)
Composer(s): Dodworth
10)
Composer(s): Donizetti
12)
aka Orphée aux enfers
Composer(s): Strauss
13)
aka Clock
Composer(s): Arditi
15)
aka Feuerwehr-Galopp; Flick flock; Flick and flock; Flick et flock; Au feu!
Composer(s): Hertel
16)
Composer(s): Dodworth

Citations

1)
Announcement: New York Post, 05 July 1866, 2.

Includes program.

2)
Review: New York Herald, 07 July 1867, 6.

“There was an immense assemblage around the pagoda in the Park yesterday when Dodworth's band commenced their usual Saturday afternoon concert. The overture to the Pretender, by Kucken, was the opening piece. It is a light melodious work, written in the happiest vein of the celebrated song composer, the finale, in which there is a cleverly worked fugue, being particularly brilliant. A beautiful 'romanza, entitled ‘Rose Water Well,' by Dodworth, followed. This is one of this composer’s most exquisite melodies, and cannot fail to prove a favorite during the summer concerts. One of Gungl’s dreamy waltzes, ‘Uber Land und Meer,’ a companion to the well known ‘Dreams on the Ocean,’ came next, and was succeeded by the Turner March, by Unrath, a popular march composer in Germany. Then came a delicious overture, 'Anacreon,' by Cherubini, a work which, although written with an exactitude almost mathematical, is full of vigor, fire and dramatic effect. Though the style of Cherubini belongs more to the German than the Italian school, still he cannot properly be placed among the artists of the former; yet his manner is less Italian than that of Mozart; it is purer than that of Beethoven; it is in fact, the [illeg.], ancient style of Italy, refreshed and decorated with the harmony of modern times. The same purity, the same sobriety of proceeding, the same results, obtained by the same mysterious means that characterized the music of Palestrina is to be found in all Cherubini’s works. To the eye, his music presents combinations of which it is impossible to divine the effect, until the execution of it reveals it to the ear. The Quarry Mazurka and the florid Linda de Chamouni [sic] concluded the second part of the programme. The principal feature of the last part was a charming scherzo, 'L'Orologio,' by Arditi. When the galop, 'Flick au Flock,' well known to the ball-goers was announced, Jupiter Pluvius thought it was time to close the concert, and down came the rain in unmistakable earnestness. The audience dispersed at double quick to the accompaniment of the music, thinking of getting home before Mr. Dodworth had time to play his 'Home Thoughts'.”