Philharmonic Society of New York Concert: 4th

“It would be almost superfluous to say that the Academy of Music was crowded at a Philharmonic concert this season since Dr. Doremus took the society in hand. Therefore, we shall not say anything about the immense audience which assembled at the Irving place opera house last night. The fact that the two leading vocal societies of America—the Liederkranz and Arion—were to sing a grand chorus from Wagner’s ‘Lohengrin’ brought may hundred Germans to the Academy. The chorus was given in magnificent style, the 125 voices speaking as one and coming out in an avalanche of harmony, with the hundred instruments of the orchestra as a colossal background. The effect was electric, and one could not help pardoning all Wagner’s extravagances and shortcoming when the majestic tones of ‘Lohengrin’ pealed through the building. Bach’s overture, air and gavotte, which we have described in full at one of Thomas’ symphony soirees, commenced the concert. Madame La Grange sang the lovely air from ‘Fidelio,’ one of the most delightful and tender songs in the whole range of opera, and an air from ‘Don Giovanni.’ No matter what persons may say about the decadence of this lady’s voice, one must always feel in hearing her that he is in presence of real talent and a thorough artist. Last night she sang in a style which charmed her hearers. Time has not dealt gently with her voice, but it can never eradicate the artistic instincts and almost perfect method of this great cantatrice. Mendelssohn’s exquisite overture to ‘Melosine’ and Schumann’s fourth symphony in D minor, completed the rest of the programme. The latter is a chef d’oeuvre and was rendered by the society in faultless style. In every piece the orchestra upheld the high reputation of the society and crowned themselves with new laurels. But to the Liederkranz and Arion the highest honors are due. Their chorus was something to be remembered.”

[Lists the program.] “The Suite of Bach’s is the same (in D) which Mr. Theodore Thomas has recently made familiar to New York audiences. He played the whole of it last season, and this year has given parts of it at his Sunday concerts. The overture is in the style of Handel, and Handel in his coldest and driest vein. The beginning and ending are singularly suggestive of the overture to ‘The Messiah;’ the middle portion is far richer, more forcible, and more impressive. The heart of the composition is the second movement—that solemn air so full of the beauty and grace of genius and of the nameless charm which fascinates both the cultivated intellect and the unlearned popular ear. The gavotte—well-known to piano virtuosi—is a lively and becoming close to a most lovely composition. Many will object that this movement, as well indeed as nearly every part of the concert, was taken too slow; but Mr. Bergmann’s habit is to be more deliberate than the generality of conductors, and the point is one about which tastes may fairly differ. It would at any rate be impossible to find any other fault with the performance. The overture of ‘Melusina’ we think was given perfectly. Mendelssohn himself had a great affection for this work, and threw into its weird, fairy-like music all the wealth of his inspired soul. The Schumann Symphony is well known in New-York, and the beautific andante movement never fails to produce a deep effect. The whole composition was interpreted with spirit and delicacy. Madame LaGrange richly deserved the compliments she received from both the audience and the Society for her artistic delivery of the arias from ‘Fidelio’ and ‘Don Giovanni;’ but the day is long past, when she could appear to advantage on the concert platform, where she has no opportunity to conceal by dramatic skill the ravages of time. The double chorus from ‘Lohengrin,’ was one of the finest pieces of chorus singing we ever heard. The music is not much to our taste, for it is unsympathetic; but it is wonderfully forcible, and contains passages in Wagner’s very best style. The Liederkranz and Arion Societies numbered sixty or eighty voices each, and were well-balanced, firm, and intelligent in their delivery. Notwithstanding the length of this elaborate chorus, the audience seemed disposed to demand its repetition, but in this they were not gratified.

We are happy to perceive that the discreditable practice of admitting favored individuals before the doors are opened to the public has been measurably abated. Not more than twenty or thirty were admitted in this way on Saturday evening, and these were not permitted to monopolize the boxes. There seems to have been, however, an unpardonable over-issue of tickets. We understand that 500 free tickets are distributed at every concert, and at the last one a large number in addition were given away to the members of the chorus. This is an infringement upon the rights of the subscribers. The Academy is not large enough to hold all who want to attend, and those who pay ought to have the preference.”

“New York, March 8.—On Saturday evening we had our 4^th Philharmonic Concert with the following programme (orchestral):--

            Suite, Overture, Air, Gavotte……Bach

            Overture, ‘Melusina’………Mendelssohn

            Symphony, D minor, op. 120……Schumann

            Double Chorus from ‘Lohengrin’…Wagner

The Arion and Liederkranz Societies assisted and Mme. LaGrange sang the ‘Letter Aria’ from Don Giovanni and the Scena and Aria from Fidelio.

The Suite is a very charming work; it was a first produced here by Theo. Thomas at one of his Symphony Soirees last winter, and was also one of the attractions at the Musical Restival. It improves upon acquaintance, and seemed to please the vast unmusical majority. 

The ‘Melusine’ Overture, charming as it certainly is, suffered by contrast with the Bach music and the magnificent Schumann Symphony, and left me with a dissatisfied feeling which it would be difficult to define, and which it would be rank musical heterodoxy to express.

The last of Schumann’s Symphonies was played in an almost faultless manner and was most enjoyable to those whose taste has been educated up to the standard of Schumann’s school. While it is less attractive to me than are either of the other three symphonies, it yet had many points of beauty and interest, and through the entire work the genius of the author shines unmistakably. The last movement possesses enough life, energy, and vigor to suffice a dozen ordinary authors, and Mr. Bergmann took the tempo at a rate that was positively bewildering. 

Mme. LaGrange demonstrated the fact that even an admirable and most artistic execution cannot supply the place of a voice long since departed; it is unfortunate that such a great artist should not have gracefully retired from public life while at the zenith of her renown.  An encore—elicited by her excellent performance of the ‘Letter’ Aria—was really a tribute to her past reputation rather than to her present ability.

The Wagner Chorus was capitally rendered by our two prominent German Singing Societies, and very nearly gained an encore.”