Gottschalk Instrumental and Vocal Concert: 5th

Event Information

Venue(s):
Irving Hall

Price: $.50; $1 reserved

Event Type:
Chamber (includes Solo)

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
1 October 2013

Performance Date(s) and Time(s)

20 Apr 1863, Evening

Program Details



Performers and/or Works Performed

3)
aka Norma duet for two pianos
Composer(s): Thalberg
4)
aka Moutaineer's song
Composer(s): Gottschalk
Participants:  William Castle
5)
Composer(s): Gottschalk
Participants:  Louis Moreau Gottschalk
6)
aka Danse des fées
Composer(s): Prudent

Citations

1)
Advertisement: New York Herald, 18 April 1863, 7.

 

2)
Advertisement: New-York Times, 19 April 1863, 7.

Price, performers and some pieces.  “During the evening, Mr. Gottschalk will perform with Miss Barnetche, Miss Carrere and Miss Krolikowska a transcription of Wagner’s MARCH FROM TANNHAUSER, For four Pianos.  Mr. Gottschalk will also perform, with Miss Carrere, THALBERG’S DUET ON NORMA, For two Pianos.”

3)
Advertisement: New York Herald, 19 April 1863, 7.

Large ad and small ad about Riddell.

4)
Announcement: New-York Times, 20 April 1863, 4.

Lists some performers and pieces.

5)
Announcement: New York Herald, 20 April 1863.


6)
Advertisement: New York Herald, 20 April 1863, 7.

Various ads.  Small one: “The Union (Paraphrase de Concert) Dedicated to General McClellan, will be performed by M. Gottschalk.”

Large one lists the Prudent piece, but the ad has problems: “During the evening, Mr. Gottschalk will perform with Miss Barnetche, Miss Carrere, Miss Krolikowska and Mr. Behrens a transcription of Wagner’s MARCH FROM TANNHAUSER, For four Pianos.  Mr. Gottschalk will also perform, with Miss Carrere, THALBERG’S DUET ON NORMA, For five Pianos.”  Five pianists to perform on a work for four pianos and two pianists to perform on a work for five pianos.  Compare with the NYT AD from the same day.

 

7)
Announcement: New-York Daily Tribune, 20 April 1863, 8.

Announces Gottschalk concert at Irving Hall for Tuesday.  COMMENT: This seems unlikely, as Camille Urso had a concert originally scheduled there on Tuesday night.  Probably should say “tonight” instead of Tuesday night.

8)
Announcement: New York Post, 20 April 1863, 2.

Performers and some works.  Says the Thalberg will be for five pianists.  Behrens is a “pianist from Philadelphia.”

9)
Review: New York Herald, 21 April 1863, 6.

Brief. “An immence [sic] audience filled Irving Hall last night, attracted by the grand programme announced for the Gottschalk concert.”

10)
Review: New York Post, 22 April 1863, 2.

“Mr. Gottschalk’s series of concerts came to an end on Monday evening with one of usual attractions. A crowded audience was in attendance, and the numerous and fascinating corps of assistants by whom the chief pianist was surrounded received abundant applause of genuine warmth.  Gottschalk’s concerts, always successful, have, during the past two weeks, surpassed themselves in the wealth of professional talents they have displayed, and it is a subject for regret that they have come to a close.”

11)
Review: Courrier des États-Unis, 28 April 1863, 2.

     "Gottschalk's farewell concert was marked by a musical eccentricity of which we hadn't had an example for some time: a piece for ten hands and five pianos. It's not equal to some production for eight pianos and thirty-two hands that Léopold de Meyer gave of yore, but yet it's quite pretty. The performers were. along with Gottschalk himself, Mlle Barnetche, Mlle Carrèra, Mlle Krolikowska, and M. Behrens. There was success and an encore; however, I would acknowledge my lack of taste for these kinds of 'ear-illusions' [trompe l'oreille] which have scarcely any other merit than to attract ninnies. Mlle Barnetche has better things to do than to mix her skill that is so accurate into an ensemble that's indistinct and clattering, where it becomes impossible to distinguish the part of each artist. It's the same for Mlle Louise Krolikowska, who made a very successful debut this evening both as an attractive woman and as an expert pianist. She has a way of playing, lively, sparkling and secure, that was no less to the taste of the ladies than her powdered hairdo was to the men. She's yet another brilliant star in the pleiades of new artists to whom Gottschalk lends, with a charming brotherliness, a part of his popularity, to put them in the spotlight.

     A young and very pleasant American singer introduced herself to no less advantage in this same soirée. Miss Fannie Riddell has a good soprano voice, handled a bit timidly still, but with a clearness that feels well-trained and promises much for the future. She was trained by a teacher whose reputation in New York, though still very recent, is growing rapidly: maestro Rondinelli. It's necessary to congratulate him heartily on the debutt of the first student he's presented in public. . . .