Ole Bull Farewell Concert

Event Information

Steinway Hall

Price: $1.50 reserved; $1

Performance Forces:

Record Information


Last Updated:
10 April 2018

Performance Date(s) and Time(s)

01 Apr 1868, Evening

Program Details

The movement from Mozart’s Violin Concerto in D major was titled “Allegretto,” in the citations, with the orchestral part arranged for organ. Neither of Mozart's two violin concertos in D, K. 211 or K. 218, have movements titled "Allegretto," so it is impossible to identify this work further. (The only violin concerto of Mozart's to contain an "Allegretto" is K. 268/365, which is in E-flat.)

Morgan also played an unidentified Thema in A with variations.

Performers and/or Works Performed

Composer(s): Mozart
aka Witches’ dance; Hexentanz
Composer(s): Paganini
Participants:  Ole Bull
Composer(s): Bull
Participants:  Ole Bull
aka Non e ver; Tis not true
Composer(s): Mattei
Participants:  Eliza [contralto] Lumley
Composer(s): Glover
Text Author: Jefferys
Participants:  Eliza [contralto] Lumley
Composer(s): Schubert
Participants:  Signor Severini
Composer(s): Donizetti
Participants:  Signor Severini;  A. Randolfi
Composer(s): Hoffman
Composer(s): Hoffman
Composer(s): Hoffman


Advertisement: New York Herald, 27 March 1868.
Advertisement: New-York Times, 29 March 1868, 7.
Advertisement: New York Herald, 01 April 1868, 9.

Includes program.

Review: New York Herald, 02 April 1868, 7.

“Steinway Hall—Ole Bull—Ole Bull’s farewell concert at Steinway Hall last night attracted an immence [sic] audience, which crowded every portion of the large and small halls. The great violinist played Mozart’s violin concerto in D major, with piano and organ instead of the orchestra, the ‘Witch’s Dance,’ by Paganini, and his own version of the ‘Carnival of Venice.’  The charming concerto, in which the composer of ‘Don Giovanni’ is easily recognizable, gave Ole Bull a better chance to display his great genius than any other work he has played. In the andante movement his cantabile expression was something to be remembered by all who heard him. The highest praise is due to Messrs. George Morgan and Edward Hoffman, who played the organ and piano accompaniment, the most difficult in one sense of the word, that an accompagnateur could attempt, in truly admirable style. Madame Elisa Lumley, the distinguished opera contralto, sang Mattei’s romance, ‘Non e Ver’ and a cavatina by Stephen Glover with rare effect. The other artists were Messrs. Randolfi, Severini and Toulmin.”

Review: New York Post, 02 April 1868.

“Ole Bull’s Concert: Ole Bull’s farewell concert was given last night at Steinway Hall to an immense audience. We do not know why it should have been announced as a ‘farewell concert,’ for it is altogether likely that we shall soon have Ole Bull again, and we trust many times. The programme last night was a good one. The pieces performed by Ole Bull were the ‘Witches’ Dance,’ by Paganini; the ‘Allegretto’ from Mozart; concerto in D major, and Ole Bull’s ‘Carnival of Venice.’The ‘execution pieces’ were prominent, perhaps in response to a general demand.

It is certainly a pleasure to see how easily and with what surplus power Ole Bull vanquishes the difficulties that even excellent players can barely reach and cope with. We had much rather hear him, however, perform a piece like the ‘Allegretto’ above mentioned, in which execution is subordinated to the expression of a pure musical sentiment.”

Review: New-York Times, 02 April 1868, 4.

“Mr. Ole Bull's farewell concert (for the present) took place last evening at Steinway’s and attracted the fullest audience of the season. The world-renowned artist has lost none of his old supremacy. His name is still a tower of strength, and his playing a source of unfailing pleasure to all who frequent the concert-room. It would be useless to seek the cause. It can, perhaps, be described in a single word—genius. There are certainly players who, in accomplishing technical difficulties, are equal to Ole Bull. But in the art of manipulating the attention of the audience, and compelling earnestness of consideration, he is without a rival. And it must be added that the closest attention is generally well rewarded. The gentleman plays with exquisite feeling, and is a thorough master of every effect that can be produced on his instrument. The pieces last evening were the ‘Allegretto,’ from Mozart's beautiful concerto in D major; the ‘Witches’ Dance,’ by Paganini, and the ‘Carnival of Venice,’ by Ole Bull. They were rendered admirably, and elicited abundant applause. Mme. Lumley, of whose recent début in opera we have had occasion to speak, made her first appearance at these concerts. The lady’s pure and free contralto, and her large dramatic style, were heard to advantage, albeit the pieces in which she displayed these qualifications were of the thinnest. Messrs. Severini and Randolfi were the vocalists; Mr. Morgan presided at the organ; Mr. Ed. Hoffman at the piano, and Mr. Toulmin at the harp.”