Philharmonic Society of New York Concert: 5th

Event Information

Venue(s):
Academy of Music

Conductor(s):
Carl Bergmann

Event Type:
Orchestral

Performance Forces:
Vocal

Record Information

Status:
Published

Last Updated:
23 July 2019

Performance Date(s) and Time(s)

10 Apr 1869, 8:00 PM

Program Details

Orchestra comprised of one hundred musicians. Hoffman played the Chopin nocturne as an encore; Gazzaniga sang an unidentified encore after Rizzo’s “Salve Maria.”

Performers and/or Works Performed

2)
Composer(s): Liszt
3)
aka Ah, mio figlio; Beggar's song; Prophete. Ah! mons fils
Composer(s): Meyerbeer
Participants:  Marietta Gazzaniga
4)
Composer(s): Mendelssohn-Bartholdy
6)
Composer(s): Wagner
7)
Composer(s): Rizzo
Participants:  Marietta Gazzaniga
8)
Composer(s): Beethoven

Citations

1)
Advertisement: New York Herald, 10 April 1869, 8.
2)
Advertisement: New-York Times, 10 April 1869, 9.
3)
Review: New York Herald, 11 April 1869, 9.

“The programme last night at the Academy was a remarkable one in some of its features. Its objectionable points were, fortunately, more than counterbalanced by two of the most exquisite works produced this season—old, time-honored favorites, which, in the hands of real artists, are always a source of pleasure. They were Mendelssohn’s piano concerto in D minor and Beethoven’s first symphony in C. When we say that the former was played by Mr. Richard Hoffman, and the latter, of course, by the unrivalled orchestra of 100 performers, under the direction of the prince of conductors, Carl Bergmann, it is a sufficient guarantee for them. Mr. Hoffman’s style is eminently tender and poetic, and beneath his fingers the piano becomes etherealized. Some might like a little more power and broadness of conception, but none will deny him a grace and delicacy that reach the heart of the hearer. Mendelssohn would have selected him from a score of virtuosi to give expression to his beautiful imaginings. In response to an ‘unmistakable’ encore he played a simple, unpretending little melody in a style and with an expression so unusual in the pianists of the present day that he was very near subjecting himself to the penalty of another encore. The symphony was almost perfect in its rendering, and its lights and shades were fully brought out by the orchestra. The Philharmonic artists seem to be always at home when Beethoven is on the bills, and never miss a feature of the great master. The objectionable features to which we referred where Liszt’s symphonic poem, ‘Ideale,’ and Wagner’s ‘Faust’ overture. We might add, besides, the ‘Salve Maria,’ by Rizzo, and another song given by Madame Gazzaniga. Neither was of a degree of merit sufficient to entitle it to a hearing before such an audience and in company with such a society. The ‘Ah! mon fils’ was better, and was acceptably rendered by the prima donna in question. Wagner seems in his overture to have imbued all the instruments of the orchestra with the spirit of Mephistopheles, and the consequence naturally is—pandemonium. Even such a skilful [sic] conjuror as Carl Bergmann could not exorcise the evil spirits that spoke in admirable discord from violin, trombone, double bass and oboe. Liszt and Wagner on a programme at the same time are too much for even the most hardened disciple of the music of the future. Both of them are, we suppose, necessary evils, which we must endure at times in order to be the better able to appreciate good music; but please, Mr. Bergmann, don’t let them form a partnership to torment suffering ears. The next concert will bring the season to a brilliant close.” Lists program for final concert.

4)
Review: New York Post, 12 April 1869.

“The fifth Philharmonic concert last Saturday night was not a success as compared with its predecessors this season. Liszt’s long symphonic poem ‘Ideale’ was enjoyed by but few and understood by fewer. To most of the auditors it was sound and fury, signifying nothing. To a lesser degree the same remark applies to Wagner’s ‘Faust’ overture. This class of music, however, the Society is not to be blamed for producing. It is attracting much attention in the musical capitals of Europe, and it is but fair that the music lovers of the New World should share the infliction in common with their fellow sufferers of the Old. Possibly in fifty years from now Liszt and Wagner will be appreciated and Beethoven and Mendelssohn seem as antiquated as Gluck or Paesiello do now; but we would not anticipate that delectable period. Mr. Richard Hoffmann [sic] played at this concert Mendelssohn’s Concert [sic] in D minor, and was thoroughly graceful and satisfactory in his playing. Gazzaniga did not sing in a style commensurate with her real ability and reputation, though she was encored. The concert concluded with Beethoven’s symphony, in C, which the greater part of the audience heartily enjoyed, while others, exhausted by the siege of Liszt and Wagner, peacefully slept. Among the latter were two well-known critics who have since written enthusiastic reviews of the entire performance.”

5)
Review: New York Sun, 12 April 1869, 2.

“The Philharmonic Society gave its fifth concert on Saturday evening. The Academy was crowded as usual. The large audience was drawn together partly by the great prestige of the Society, and partly by the fact that Mr. Richard Hoffman was to play. Certainly not by any special merit in the programme, for, with the exception of Mr. Hoffman’s pieces (the D minor concerto of Mendelssohn) and Beethoven’s First Symphony, there was nothing to excite the slightest enthusiasm in the audience, or, indeed, any emotion except that of weariness. Liszt’s ‘Ideal Symphony,’ a prolonged piece of musical declamation of half an hour’s unbroken duration, was, to our way of thinking, and we believe to that of the entire audience, simply execrable.

“As there was no explanation accompanying the piece, every one was left to his own conclusions as to its meaning. It seemed to us like the broken dreams of a man sick of a fever. There was not the slightest continuity of thought. It was vague, restless, shifting, unreasonable—an endless series of modulations from key to key—a tissue of wild fancies with no connecting links. Here and there a few strains that had some coherence would appear, but quickly faded back into the ‘vain babble’ and wilderness of sounds without meaning that distinguish the composition.

“Mr. Hoffman’s playing went far to redeem the concert. The D minor concerto is not a great work. It is, in fact, one of the best examples of the limitations of Mendelssohn’s genius. Graceful, flowing, full of delicate sentiment almost feminine in its characteristics—admirable in its musical forms, of which the composer was so absolute a master—more remarkable for the skilful treatment of the themes than for the strength of the themes themselves—more noticeable still for all absence of strong emotion; such were the characteristics of the piece. Those of the pianist were a thorough comprehension of the author, and the faculty of perfectly reproducing for his audience his conception of the scope and meaning of the composition. This faculty of course, can only come from the most absolute mastery of all the technical difficulties of the instrument, and from that delicacy of organization that puts the player upon the level of Mendelssohn’s pure, refined, and elevated thought. The concerto was played with that perfect case which is the result of perfect training; with that sympathetic feeling without which the work of no composer is properly interpreted; with that quiet, unassuming bearing that looks to the illustration of the author and not to self-illustration, and that has so nobly marked and distinguished Mr. Hoffman’s most honorable artistic career.”

6)
Announcement: New York Herald, 14 April 1869, 5.

“We have received the following communication in reference to the report of the Philharmonic concert published in the Herald of last Sunday. Without retracting from our report, we think that where the taste of the general public is at stake the artists themselves should be allowed some latitude. Mme. Gazzinaga [sic, throughout] is an artiste of known talent, whose vocal powers require no comment on our part to ingratitate her with an appreciative public:—

“To the Editor of the Herald:—

Allow me to inform you that the pieces sung by Mme. Gazzinaga at the Philharmonic concert of last Saturday were selected by the committee, and Mme. Gazzinaga merely obeyed its choice. The selections were classical and fine, in fact, suitable for such an occasion, and, moreover, were applauded and encored. Trusting that you will insert this note in justice to Mme. Gazzinaga, I remain, &c., LUCIEN ALBITES.”

7)
Review: Dwight's Journal of Music, 24 April 1869, 22.

“On Saturday evening we had our fifth Philharmonic Concert, with Richard Hoffman and Mme. Gazzaniga as soloists. This was the programme: [lists program].

“Liszt’s ‘Poem’ and Wagner’s ‘Faust’ constituted a pretty strong dose for one evening, although the latter has many fine and attractive points. As for the ‘poem’ (which was cruelly placed at the commencement of the programme), it is simply and utterly absurd; had it been named ‘chaos’ the nomenclature would have been accurate. As for Beethoven’s earliest Symphony, its freshness and melodious phrases were positively charming after all the Wagner and Liszt brass.

“Mme. Gazzaniga sang with that power and force for which she is distinguished; her artistic performance of the Salve Maria secured a decided encore.

“Mr. Hoffman’s performance of the always beautiful Concerto was simply delightful, his touch is so beautifully delicate, his manipulation so unerringly even and accurate, and he is so true in every detail to the intention of the composer; these excellencies combine to form a most artistic and enjoyable whole. The delighted audience insisted upon a recall, and Mr. Hoffman gracefully responded with Chopin’s exquisite Nocturne in F-sharp minor. This latter was entitled ‘a simple, unpretending little melody’ by the astute Herald critic in yesterday’s issue. How encouragingly patronizing!”

8)
Review: New York Musical Gazette, May 1869, 53.

“The fifth Philharmonic concert was not up to the Society’s standard—the programme being at fault. Two or three vocal selections given by Madame Gazzaniga, and one of Mendelssohn’s piano concertos, performed by Mr. Richard Hoffman, gave general satisfaction.”

9)
Announcement: Dwight's Journal of Music, 08 May 1869, 29.

“I find that your printers have made me say that Mr. Hoffman played Chopin’s Nocturne in F sharp minor at the Philharmonic; this is a mistake, it should have read F sharp major.”