Philharmonic Society of New York Concert: 5th

Event Information

Venue(s):
Academy of Music

Conductor(s):
Carl Bergmann

Price: $1

Event Type:
Choral, Orchestral

Performance Forces:
Instrumental

Record Information

Status:
Published

Last Updated:
25 December 2021

Performance Date(s) and Time(s)

18 Apr 1868, Evening

Program Details

Last concert of the season.

Performers and/or Works Performed

2)
aka Spring symphony
Composer(s): Schumann
3)
aka Midsummer night's dream
Composer(s): Mendelssohn-Bartholdy
4)
Composer(s): Veit
Participants:  Arion Gesangverein
5)
aka Soldier's farewell; Farewell
Composer(s): Kinkel
Participants:  Arion Gesangverein
6)
aka Freischutz overture
Composer(s): Weber
7)
aka Roman triumph; Römischer Triumphgesang; Romischer Leichenfeier
Composer(s): Bruch
Participants:  Arion Gesangverein

Citations

1)
Announcement: New-York Times, 09 April 1868, 4.
2)
Advertisement: New York Herald, 15 April 1868.
3)
Advertisement: New-York Times, 16 April 1868, 7.
4)
Advertisement: New-Yorker Staats-Zeitung und Herold, 18 April 1868, 6.
5)
Review: New York Herald, 20 April 1868, 7.

“The Philharmonic Society gave its sixth [sic] and last concert of the season at the Academy of Music on Saturday night. The house was densely crowded. The programme included Schumann’s symphony No. 1, in B flat; selections from Mendelssohn’s music to the ‘Midsummer Night’s dream,’ and the overture to ‘Der Freyschutz,’ by the orchestra, consisting of a hundred performers, skillfully directed by Carl Bergman. The Arion Society contributed the vocal part, singing Veit’s ‘King in Thule,’ Kinkel’s ‘Farewell’ and the famous ‘Roman Triumph’ by Max Bruch, the latter with a fine orchestral accompaniment. Theodore Thomas played a concerto of Beethoven for the violin [first movement only, according to the programme] exquisitely, with an accompaniment that could hardly be excelled. It was pleasant to see so large an audience appreciating such a musical feast as the Philharmonic Society spread before them Saturday night. In these days, when the sensational drama, and sensations which are less dramatic than demoralizing, appear to carry the public taste by storm, it is refreshing to find that we have an element in our midst which enjoyeth refining and intellectual pleasures.”

6)
Review: New-York Daily Tribune, 20 April 1868, 5.

"The Philharmonic Society has sung its swan song of the season—the final concert of the annual series having taken place at the Academy of Music on Saturday evening. Schumann’s noble Symphony No. 1 in B flat was first performed, after which the Arion Society sang a lied by Kinkel and another by Veit. Why Kinkel should feel himself called upon to write songs does not appear clearly when said songs have been heard. Nor has any reason been advanced to vindicate the necessity of employing asthmatic or wheezy tenors to interpret choral compositions—even though the distressing products of Kinkel’s unique fancy be numbered among such works. 

The weakness of the tenor ranks in all our large choral bodies has long been a subject of regretful remark. From time to time we have called attention to this radical defect, and we must again enter a protest against the use of tenors worked on the escape-valve principle. If the proper exertions were made quite a goodly number of young, strong, and willing tenors could be mustered into the art service of the city, with the best results. With the exception of the deficiency here noted, the general rendering of the pieces by the Arion was good. The first part of the concert closed with the performance by Mr. Theodore Thomas of the first movement of Beethoven’s concerto for the violin. Mr. Thomas seemed to be somewhat out of practice, as was suggested by the faulty intonation of his octaves and the difficulty with which he executed certain passages involving the air and harmonies. His trills, scales the chromatic especially, and cantabile passages were given with the distinctness and firmness for which he is noted. Had he selected a less exacting movement—one not demanding such incessant practice as this certainly does—his success would have been fully insured. 

The gem of the evening, was without doubt the performance of Mendelssohn’s music to the ‘Midsummer Night’s Dream.’ Viewed from a purely artistic standpoint, this was about the finest piece of orchestral execution that we have heard this year. The rendering of this music convinces us that Mr. Bergmann, more than any other of our able leaders, has the rare faculty of imparting to others what he himself feels. With the mischievous doing of Puck and Peas-blossom, the orchestra seemed as well acquainted as the majority of Shakespearean commentators—not to say better. As for the music itself, the scherzo and andante were the numbers that made the most lasting impression. The delicious scherzo, being exquisitely rendered, proved wholly fascinating. The oftener this movement is heard, the better we understand Mendelssohn. Not the man stricken with grief, but Mendelssohn, the young and happy, giving free vent to his boyish thought, in the artistic sense, mature fancy. The concert wound up with the overture to ‘Der Freischutz’ which was very finely played. The attendance had the double merit of being large and appreciative.”

7)
Review: New-Yorker Staats-Zeitung und Herold, 20 April 1868, 8.

“On Saturday evening the fifth and last Philharmonic concert took place, overfilled. The concert had a very abundant program and ended at nearly 11 p.m. Schumann’s beloved Symphony in B-major, Mendelssohn’s music from the Midsummer Night’s Dream and the Freischütz Overture with its beloved well-known melodies with the over-100-man orchestra under Bergmann played with fire and precision, which one can well demand from the Philharmonic. Theodor [sic] Thomas played the first movement of the Beethoven Violin concerto, a composition that calls for not only very significant technique, but also also a fine musical consciousness and understanding. Dr. Thomas proved from the beginning of this piece that he is serious about true art, that he is one of our [gebiegensten: Forthcoming? Productive?] solo-violinists, that he is serious about true art. The Arion sang three choruses, among them Max Bruch’s 'Komischen Triumphgesang,' extraordinarily full of effects, for which they reaped well-deserved praise.”

8)
Review: Dwight's Journal of Music, 25 April 1868, 232.

“The programme also included three vocal selections by the Arion Society. The Symphony is one of those indisputably great works which have made an enduring fame for Robert Schumann. Built upon a basis less broad than that of his masterpiece (no. 2 in C major), it is yet most vigorous and healthy, graceful and charming. The Larghetto is a passionate and delicious poem. In its completeness this is one of the great Symphonies. 

The ‘Midsummer Night’s Dream’ music is so well known that it needs no description. The Overture, an amazingly precocious work for a boy of 15, and the famous Wedding March, are established favorites with the general public. The Scherzo is the gem of the work, and was played wonderfully well by the splendid orchestra of 100 members. 

Mr. Thomas scarcely did justice to himself or to the Concert. Admitting as we gladly do, his preeminent ability , it is nevertheless our duty, as a conscientious critic, to say that his performance was less smooth and easy than might have been desired; it seemed too labored. It is but justice to Mr. Thomas to say that the difficulties of the composition are immense, and that it lies awkwardly for the instrument. 

The Arion Society sang with good effect two songs without accompaniment, and one, called ‘A Roman Triumph’ in which the orchestra assisted. The ‘Farewell,’ which was really well done, met with great favor, was warmly encored, and, contrary to the rule of the Society, a repetition was obligingly accorded by Herr Bergmann.

The Academy was crammed from parquette to ceiling. Indeed the attendance during the entire season has been unprecedentedly large, both at the rehearsals and concerts. This evident hearty appreciation of the purposes of the Society must be, and doubtless is, extremely gratifying to those staunch and steadfast pioneers of Art, who, twenty-six years ago, founded the N.Y. Philharmonic Society.”

9)
Review: New-York Times, 27 April 1868, 4.

“The Philharmonic Society has never distinguished itself more than during the present season. Thanks to the energy, intelligence and influence of Dr. Doremus, it has wrought radical changes to its own good. The orchestra numbers a hundred of the best players in the country, and the works selected have been the largest in the repertoire. In Mr. Bergmann it possesses a conductor of the first rank, and the new President commands the respect of the community, both musically and otherwise. The final programme was perhaps the weakest of the season. It suffered by contrast with the admirable one which preceded it, and indeed it could not be otherwise. The attendance, however, improved steadily to the end. We are glad to hear that the dividend divided by the Society is extremely satisfactory to its members.”