Frederic Louis Ritter Grand Concert

“One of the attractions offered is ‘Manfred’ with Schumann’s Overture and other music, the text being declaimed by Edwin Booth.”

“The programme will be chiefly composed of his [Ritter’s] own productions and will include the Symphony which was played at our Musical Festival last spring and which made such a favorable impression in musical circles here.”

“Mr. Ritter selected for his concert at Steinway Hall last night an evening usually devoted to home festivities; otherwise he would have had a larger audience. The programme consisted entirely of his own compositions, some of which have been previously given in public here.  His ‘Othello’ overture and his symphony in A Major show to advantage his skill in instrumental composition; and the elaborate setting of the Forty-sixth Psalm proves that he knows how to write for a chorus. Quaint and appropriate is Mr. Ritter’s music to certain Persian songs, translated into German. Mrs. Fanny Raymond-Ritter and the Harmonic Society rendered efficient aid last night.”

“The concert given by Mr. F. L. Ritter, last evening, at Steinway Hall, was only fairly attended, although considering the rather severe character of the programme, and the natural disposition of the public to seek the lightest and most festive amusements on Thanksgiving night, the audience was not a bad one. All the pieces performed were of Mr. Ritter’s own composition, and we have often expressed our judgment that Mr. Ritter is a most excellent composer. His symphony in A, which was first produced at Mr. Harrison’s festival last Spring, was played by a large and carefully-selected orchestra. It is a scholarly and interesting work, well constructed, and containing a good deal of melodic beauty, and several passages treated with admirable breadth. The execution was generally commendable, but in some parts, especially the final allegro vivace, heavy and coarse. The overture to ‘Othello’ which opened the second part of the concert, is also a work of decided merit and beauty, though, to our mind, rather prolix. It was played last season by the Philharmonic Society. A series of songs from the Persian of Hafiz, delicate in structure, and full of the mystical character of the poetry, were indifferently interpreted by Mr. August Kreissman, who has a thin tenor voice, with a strong tendency toward the falsetto, and an unpleasantly finical style. Mr. Ritter’s ‘XLVIth Psalm,’ which has also been heard here before, was the closing piece on the programme. Mrs. Ritter and a large force of the New-York Harmonic Society were intrusted with the vocal parts, and did them scant justice.”

“On Thursday evening (Thanksgiving), Mr. F. L. Ritter gave a concert in Steinway Hall: the programme was selected entirely from his own compositions, and he was assisted by Mr. Kreissmann (of your city), the N.Y. Harmonic Society, Mr. E.J. Connolly, and an orchestra of about 40. I quote the programme: [see above]

“The Symphony was first public performed on Saturday evening, May 23rd, during our Musicla Festival, and impressed me most favorably upon that occasion; this impression was confirmed by hearing it a second time and I can only repeat my opinion—given in my letter of May 25th—that ‘It was unquestionably the most thoroughly fine symphonic composition which has ever been written on this side of the Atlantic;’ its excellencies are musician-like treatment, careful instrumentation and some fine harmonic changes; its faults are an occasional lack of continuity, a tendency to Mendelssohn ideas (particularly in the Minuet and horn Trio) and the unpleasant fact that the closing movement has nothing whatever to do with the rest. Despite its faults the Symphony is enjoyable and well worth hearing.

“The Songs were well sung by Mr. Kreissmann and some of them are very beautiful; in construction and form they are modeled after those of Schumann and Franz, but are in no sense imitations; one of them—called ‘Ich dachte dein’—has a charming accompaniment which was gracefully played by Mr. Connolly.

“The ‘Othello’ overture—performed at the 2nd Philharmonic concert last season—seemed more attractive this time and was played in very good style. 

“The 46th Psalm—first procured some two years ago—is in itself attractive and effective, but its performance was not excellent, and it was evident that the chorus had not been sufficiently drilled; and why will the tenors of the Harmonic Society persist in howling in such an atrocious way?  Can nothing be done to tone down their vocal obtrusiveness?  I would suggest a reform in that direction.

“Mr. Ritter’s audience numbered perhaps 100 and was, I know, attentive, and I hope, appreciative.”

“Our correspondent in another column, tells us of the concert given by that earnest and accomplished musician and composer, Mr. F. L. Ritter. The Weekly Review plays the following tribute to the ‘Hafis’ songs, and to the way in which they were sung:

“Great interest was felt by the audience in the Hafis songs, as well as in their delivery by Mr. August Kreissmann, from Boston. These songs are written in the true vein of Robert Franz, and perhaps show more of the real talent of the composer than anything else he has written. The words are most beautiful specimens of Persian poetry, once made famous in Germany by Daumer’s translations, of which, most likely, Mr. Ritter availed himself. The composer shows in his illustrations poetical sentiment, true adherence to the meaning of words, and yet a fine appreciation of what is due to form. They are by no means easy as to execution; by Mr. Kreissmann showed himself the true artist in overcoming the difficulties of conception as well as in conveying ht e meaning of the poet and composer. He was entirely successful with the audience; even to such extent that an encore of two of the songs was demanded and partially responded to by him.”

“Philadelphia, Dec. 1,--On the evening of Nov. 26th, the lovers of true music in New York were enabled to hear a concert of which every number in the programme was artistic. No virtuoso playing, at the expense of real musical sentiment; no arrangements of popular airs; but the selections, all from the works of Mr. F.L. Ritter, were full of poetical feeling and scholarly writing.The programme, was as follows [see above]

“These selections were wisely made and presented the genius of Mr. Ritter in many different aspects. The symphony in A is a solid and noble work. The theme of the Andante, in particular, is beautiful, and the graceful Menuetto unites the clearness of a theme that Bach or Haydn might have written to the rich coloring of the modern instrumentation. The Hafis’ Songs, tender and oriental were beautifully sung by Mr. Kreissmann, of your city. Mme. Raymond Ritter interpreted the impassioned scena from ‘Alfieri’s Antonio e Cleopatra,’ a dramatic and effective compositions, but needing more than one hearing for complete understanding, and the solos of the Psalm. The ‘Othello’ overture is indeed a wonderful work. It is more a ‘symphonic poem’ than an overture; no mere preparation, for Shakespeare’s tragedy, but rather, in its large proportions, a resume of the whole plot. A clear, manly theme, alla Marcia, seems to belong to Othello himself, while a gentle and sweet motif suggests Desdemona. Iago appears to have no distinct theme appropriated to him, but we trace his subtle influence in a motif which finally results in a masterly fugue, progressing with a fatal sureness, rising to the climax of the overture, then a lamenting melody, and all is finished.

“The Psalm abounds in noble effects, from the melody and calm beauty of the aria: ‘There is a river,’ to the striking imitation of the double chorus, ‘The heathen raged.’ It was finely sung by Mme. Ritter, and the Harmonic Society provided the chorus, supported by an orchestra and Mr. E. J. Conolly, organist. The effect of the chorus was injured by a harshness of tone and unsteadiness in the voices, as also by the disregard of the more dedicated shades of forte and piano, against which our oratorio directors, everywhere, struggle vainly. The orchestra played for the most part well, although we must except the extraordinary misunderstanding at the close of the first Aria in the Psalm, which, but for Mme. Ritter’s musician-like steadiness, would have entirely spoiled its effect. We would also give Mr. Conolly credit for his sympathetic pianoforte accompaniments to the Hafis’ Songs.

“Such was Mr. Ritter’s concert, and we rejoice to have been in New York to hear it."

“To the Editor of Dwight’s Journal.  Sir:--In giving the programme of my recent concert, your N. Y. correspondent ‘E,’ having most singularly, but no doubt, unintentionally, omitted the name of Mme. Ritter, who so ably assisted, while at the same time mentioning all the other persons concerned, allow me to record here, not only that my wife sang the Scena ed Aria (set to words adapted by her from Alfieri’s ‘Antonio e Cleopatra’) with orchestral accompaniment, and the solos in the 46th Psalm, but also that I composed those works expressly for her voice and vocal resources.  I am, Sir, yours truly, F. L. Ritter”

“Last month we promised a more extended notice of Mr. L. F. Ritter’s concert of ‘original’ compositions, and now proceed to give it, although our space is too limited to do it full justice.

“Mr. Ritter produced a 1st Symphony in A, an overture to ‘Othello’ in D minor (so it sounded to us at least,) several short songs, and a Cantata to 46th Psalm for mezzo soprano, solo, and chourus.

“In our opinion, at least one of several conditions must be complied with in a concert such as this, to ensure satisfaction.

I.                    Originality of ideas.

II.                 Artistic ingenuity in construction, even if imitative.

III.              Smoothness of performance.

“First, as to originality. Originality is a very comprehensive word and an orchestral writer can claim it phonetically while he still lacks it melodically; again, he may possess it melodically while harmonically he is a plagiarist. Then, he may be original as to ‘Form,’ and still be a mere follower of some other in his style of instrumentation. Mr. Ritter’s very unequal and patchy way of writing for instruments prevents us from saying that he is a studied copyist of any master in coloring, while his most marked effects in instrumentation are undoubted thefts. (Witness his frequent use of strings and wind as contrasts, and the horn passages brought in in each one of the first three movements of the symphony! These are worn-out effects. Weber and Mendelssohn alone, to say nothing of others, have exhausted them and ‘sucked them dry.’ Witness also the trumpet passage in the Othello overture à la March from Tannhauser. Witness the barefaced oboe theme in the same overture, where the motive is Mendelssohn’s and the instrumentation Schubert’s. (Vide Allegretto in Symphony in C).

“Mr. Ritter’s instrumentation is curious at times. When he has a clear chord to give, such for example as that of ré minor, with the melody on ré, why does he give the dominant to an instrument which makes it sound as if the melody were intended to be la and not ré? This is merely a type of dozens of his inequalities. 

“In the Andante of the Symphony, Schumann’s influence seems predominant, especially in the long pedal points indulged in by the composer. In the same movement there occur some clashing harmonies which indicate the want of sufficient revision. Particularly we notice an E and a D, in different instruments to be sure, but yet harmonically offensive. The ear also wearies of the excess of G minor without modulation, in the movement.

“The Minuetto is Haydn all over as to idea, while even the ponderous instrumentation, sometimes used by that composer, is also copied. Haydn’s forte was not color, as a proof of which Berlioz gives no example from him in his famous Treatise on orchestration. Mr. Ritter’s Minuetto reminded us of an elephant trying to dance. It seems extraordinary to us that a modern should try his hand at an actual retrogression in art, or that any one should essay a Minuetto after Haydn. It is but justice to Haydn to say that this movement was very successful with the audience, but then they didn’t wait to ask where it came from before applauding!

“The Allegro (4th movement) appeared to us the poorest of all. Some common chromatics, square harmonies, and an excerpt from Liszt’s ‘Mazeppa,’ in use of cymbals, muddy instrumentation, and progressions with basses very undefined, composed a medley which failed to awaken in the critical listener any genial approval. The end presented an oft-iterated invertion of the common chord, with a persistency which seemed much out of place, as in this inversion it is symbolical of undetermination, weakness, and uncertainty, surely a queer choice for the Finale of a whole symphony. We observed the same chord at the conclusion of the Scena ed Aria Solo, vigorously sung, with keen perception of dramatic force, by the accomplished Mme. Raymond Ritter. Other points of sameness obtruded themselves upon our notice. For instance certainly the first and second movements (and we think the third) began with a solitary note, gradually efflorescing into harmony. A pretty effect, though suggestive of the opening of Schubert’s C. Symphony before alluded to, as well as of other classic works.

“In the Overture we noticed some points of more attractive nature than any in the Symphony, although several vulgarisms marred its beauty. Witness the Drum Solo at its opening. Could any thing well be more common? We have before spoken of the Tannhauser trumpet passage. Mr. Ritter seems fond of introducing small catches of fugal smatterings, as if to gain thereby the reputation of cheap erudition. He is reminded that nothing is easier. Were such figures as he chooses for subjects wrought up, even in florid counterpoint, or, if they formed parts of any broad melody, to be afterwards logically and clearly presented, there would then be some excuse for them; but they seemed to us the other evening like square musical bricks, and their setting rendered them unmeaning and pedantic. We cannot admire contrapuntal draggle-tails, even when dipped in the molasses-pot of polyphonic orchestration. Rather give us melodic sequence and continuity of ideal inspiration, be they derived of symphonic form, or even of varied modulation.

“There was also in this overture a lengthy passage of heavy chords (very good, each chord by itself, but with no seeming object,) disconnected, and all together forming the climax of no particular train of thought that we could discover. Then the often repeated use of the poor abused ‘diminished seventh’ did not smack of ‘originality.’ But most unpardonable of all was the passage of ascending syncopated chromatics, taken from (lifted clean out of) Beethoven’s Leonore overture, No. 3, (if our memory does not fail us). Such a stupendous coup de tète could not hope to escape detection if appropriated in a more recent work, and we offer no apology to the reader for having recognized it.

“As to Mr. Ritter’s songs, they interested us more; but who, while listening to their beautiful interpretation by Mr. Kreisman, and Mr. Conolly (the artistic accompagnateur) could divest himself of the thought that Robert Franz and Curschman had at least been heard of, if not heard by, Mr. Ritter? And that last one ‘Wo Engelhausen,’ was not the accompaniment taken from ‘Henselt’s ‘Si j’etais oiseau’ Etude?

“We come now to the second condition (II.), and cheerfully accord to Mr. Ritter full credit for having given evidence of ‘artistic ingenuity’ in many ways. He has certainly displayed a commendable taste in framing his orchestral pasticcio efforts; for, with the best feelings in the world for him personally, we cannot consider his compositions much else.

“As to the remaining condition (III.), namely smoothness of the ensemble performances, it was by no means fulfilled, although the best was done that could have been expected from a jaded orchestra and the Thanksgiving-fed chorus of the Harmonic Society. But that is a small matter with us, as the true critic ought to use the performers as a lens, and look through them at the composer.

“Let it not be supposed that we indulge in hypercriticism. By no means. There were many points of beauty and of enjoyability in this concert, and all, of course, piqued curiosity, at least ours; but let the truth be written sometimes. Besides, a symphonist ought to be criticized. Good, bad, or indifferent—he is entitled to fair, impartial criticism. He deserves it, and might excusably feel slighted if he doesn’t get it.

“For this reason it is sad to see such musical efforts almost utterly neglected by the press, in several instances for so flimsy a reason as because the critics didn’t get their tickets in season. Could they not then have bought them? Is a new symphony to be heard every day? Only turn to the papers, and see the ‘space’ devoted to new novels, poems, and paintings! Is not a symphony of equal importance? Who is the autocrat that dares to refuse manly recognition to the pure works of any noble intellect, merely because that intellect is a musical one?

“Yet, where are our critics on such occasions? We do not mean ‘scribblers;’ they are everywhere; but the ‘critics?’ They are like N. Y. policemen when the cry of ‘Murder!’ is raised. Not to be found, or ‘are far round the corner.’  

“Mr. Ritter, by this concert, has fully justified his claim to an honorable position in the foremost rank of the ‘exceptional musical artists’ in this country’ but to say that his symphony is the finest (or most important) ‘orchestral work yet composed on this side of the Atlantic’ (vide Dwight’s Journal) is utter nonsense. Mr. Goldbeck’s compositions are far more original, and Mr. Bristow’s Second Symphony, as well as his ‘Columbus’ overture are vastly superior in point of instrumentation. Besides, has the writer of the above monstrosity in Dwight’s ever heard the four symphonies of Mr. Chas. Hommann of Philadelphia, or Mr. Hohnstock’s overture? Perhaps he has; but we don’t believe it.

“We intended some remarks upon Mr. Ritter’s observance of ‘form,’ also upon his 46th Psalm (which is Mendelssohnian all through), but our article is already too long. In conclusion we express our conviction that such concerts as Mr. Ritter’s are too rare in a city like New York. What is needed by any country of the pretensions of ours, is public encouragement of the production of new works before asserting our national claims to consideration for musical advancement. A civilized community could not progress much in literature or paintings, if only old books were read and old paintings copied. Yet with music, how seldom is it that any great new work is composed here, and even when done, how little is it appreciated or even noticed by the public, or by the public’s great schoolmaster, the ‘Press.’ Even when noticed in print, how often is it mixed up with circus-riding and negro-minstrelsy!

“We believe this state of things could be remedied if our three or four orchestral writers would combine, gather their friends about them, and raise a fund for the periodical production of new works. It comes hard on any one writer, and one orchestral concert generally drains his pocket to such an extent that he is a long time . . . recuperating. Shall we ever see an improvement in our community, such as we suggest?

            “Perhaps the Orpheonists may yet effect it, who can tell?”