Thomas Sunday Evening Concert: 13th

Event Information

Steinway Hall

Theodore Thomas [see also Thomas Orchestra]

Price: $.50; $.75 reserved seat

Event Type:

Record Information


Last Updated:
30 March 2019

Performance Date(s) and Time(s)

21 Feb 1869, 8:00 PM

Performers and/or Works Performed

Composer(s): Schubert
aka So true
Composer(s): Campana
Composer(s): Chopin
Participants:  Oscar Wenige
aka Fantasie sur une danse Cosaque; Cosatchoque; Gosatichoque; Cassischoque
Composer(s): Dargomïzhsky
Composer(s): Kreutzer
Composer(s): Rossini
aka Romanza
Composer(s): Titl
Composer(s): Auber


Advertisement: New York Herald, 19 February 1869, 12.

Includes program.

Announcement: New-York Times, 20 February 1869, 4.
Advertisement: New-York Times, 20 February 1869, 7.

Includes program.

Review: New York Herald, 22 February 1869, 7.

“At the first Theodore Thomas’ unrivalled orchestra was the feature, especially since it fell to its lot to play two works seldom heard in the concert hall—namely, Schubert’s two entre’actes to the drama ‘Rosamunde,’ and an extraordinary composition called ‘Cosatschoque,’ as novel as its name.  Mr. Oscar Wenige played Chopin’s difficult scherzo in B flat and Thalberg’s ‘Lucrezia’ fantasia with much fire and spirit, which compensated much for a want of finish and varied expression which those works demanded.  Mr. Wenige is a very deserving artist, and should be heard more frequently in the concert hall.  The audience was very large—a matter of agreeable surprise, considering the state of the weather.”

Review: New-York Times, 22 February 1869, 5.

At Steinway Hall Mr. Theodore Thomas’ splendid orchestra and several well-known artists were present to attend the thirteenth regular concert.  The principal orchestral item was entr’acte music to the drama of ‘Rosamunde,’ by Schubert.  It is comprised in two parts—one moderately quick, and evidently descriptive of intricate action’ the other an andantino, in which the beautiful but unfortunate heroine is probably sketched.  Both numbers are delightfully sweet and gentle, and again indicate the versatility of the fertile composer.  There is as usual in this master a good many repetitions, some of which—except where colored by a different instrumental treatment—might be avoided.  The work in any case will gain by being frequently played.  There is not a tedious note in it.  Of the other pieces and artists it is almost unnecessary to speak.  With one exception they are known to the public.  The exception is Mr. Oscar Wenige, a pianist, who essayed Chopin’s ‘Scherzo’ in B flat minor.  The gentleman possesses strength and execution; he has also a good touch, when he will permit that quality to be detected.  But he bangs heavily, and not always in the right place; which, to say the least, is disagreeable.  We hope on some future occasion to hear Mr. Wenige without the accompaniment of so many false notes.  Miss Pauline Bimeler sang Handel’s air ‘Lascia eh’io pianga’ in a thoroughly delicious way.  The lady, by the way, has a remarkably fine voice.  Mr. Pollack sang an effective romanza by Campana, called ‘E’ver,’ and otherwise contributed to the pleasures of the evening.  The instrumental soloists were Mr. Schmitz (horn) and Mr. Seidler (flute).”

Review: Dwight's Journal of Music, 13 March 1869, 416.

“Mr. W.’s [Weinige’s] performance was weak, and he used the pedal without discrimination.  The orchestra played—for the fourth consecutive time—the lovely ‘Nachtgesang’ which has become such a favorite with the habitués of these entertainments.”