Beethoven Centennial Festival: Concert: 11th: P. S. Gilmore Benefit

Event Information

American Institute Coliseum

Patrick S. Gilmore

Price: $2 reserved; $1

Event Type:
Band, Orchestral

Performance Forces:

Record Information


Last Updated:
1 November 2021

Performance Date(s) and Time(s)

18 Jun 1870, 7:00 PM

Program Details

This concert was not originally announced as part of the festival; it is unclear who decided to add it or when.

Music in Gotham lists programs and performers based solely on the reviews, as most of the announcements and advertisements published in advance of the festival are riddled with errors. (The anonymous, overly ambitious, and disorganized management failed to deliver on its promises, a shortcoming heavily criticized in the reviews.)

Program order impossible to determine from citations.

Unclear in what capacity Carl Rosa participated.

For general press and reviews about the festival, see separate event entries of June 13, 1870. See also separate event entries between June 1, 1870 and June 17, 1870 for rehearsals (fourteen in total).

Performers and/or Works Performed

Composer(s): Weber
Participants:  Zelda Harrison
Composer(s): Handel
Participants:  Euphrosyne Parepa
Composer(s): Wallace
Participants:  Euphrosyne Parepa
Composer(s): Hatton
Text Author: Williams
Participants:  Pasquale Brignoli


Advertisement: New York Herald, 18 June 1870, 7.
Review: New York Herald, 19 June 1870, 7.


Sixth Day—Close of the Jubilee.

There were many exceedingly interesting features at both concerts yesterday. [Reviews afternoon performance.]

the evening entertainment.

The features of the evening entertainment were, of course, Gilmore, announced as the benéficiare, Parepa-Rosa, and Brignoli. To the former, whatever of success there has been in this enterprise as a whole—and that it has been successful up to a certain point in spite of many drawbacks incidental, perhaps, to an initial affair of such magnitude, hurriedly organized, there can be no dispute—is mainly due. His appearance has always been the occasion of a peculiarly cordial reception on the part of the audience, and those great effects produced under the direction of his baton, have been the events of the festival, which elicited the warmest popular admiration. Regarded thus by the test of public approbation, Gilmore has been the inspiration of whatever of enthusiasm the affair has evoked, and in this added fresh triumphs to a reputation already, however, sufficiently established. Last night was but a repetition of the experience of former days, as far as this great leader was concerned. Julien’s ‘Quadrille of All Nations,’ ‘Star Spangled Banner’ and the ‘Anvil Chorus’ being given by him with all the novel accompaniments that have made them such favorites. The customary encore followed in each case. Parepa-Rosa and Brignoli, of course, could not but sing well, the wonderful voice of the former being heard clearly and sweetly in all parts of the vast building in ‘Let the Bright Seraphim,’ from Haydn [sic]; the ‘Star Spangled Banner,’ a duo from ‘Maritana’ and a trio from ‘Don Giovanni,’ in which latter she was assisted by Miss McCulloch and Signor Brignoli. The latter’s deep rich tenor was favorably contrasted in this with Parepa’s more piercing tones. As in the other parts of the prgoramme in which it found opportunity, it called forth the warmest tokens of appreciation. Besides those mentioned particularly of Mrs. Seguin, Miss McCulloch and Carl Rosa each contributed to the success of the evening. It must be remarked that the choruses, except in the ‘Star Spangled Banner’ and the ‘Anvil Chorus,’ were very ineffective. A curious problem in acoustics is involved in the consideration of the effect of the numerous fans in constant motion in the hall. Say there were 5,000 persons present last evening[,] there were at least 3,000 fans constantly and busily engaged in producing such a disturbance of the air as would render the transmission of sound, one would think, a matter of great difficulty. Here is an interesting matter for scientific discussion.”

Review: New-York Times, 19 June 1870, 4.

Brief. “Last evening a grand complimentary benefit was given to Mr. P. S. GILMORE, in which the following ladies and gentlemen took part: [lists performers and pieces performed].”

Review: New York Herald, 20 June 1870, 6.

“The Close of the Musical Festival.

The great Beethoven musical festival came to a happy and successful conclusion on Saturday night. Taking it all in all, it was a musical triumph which gives encouragement for another essay of the same kind. In point of attendance and receipts also it was essentially a success. The public enjoyed it, and, in proportion to their appreciation of fine music and an unusual combination of talent, they patronized it liberally. The great haste in which the jubilee was got up necessarily implied several defects, which can be remedied on a future occasion. The experience of last week will not be lost upon the projectors of a monster affair, involving the reconstruction of a gigantic building, the harmonizing of different choral societies—numbering some thirteen hundred voices—not accustomed to sing together, the harmonizing also of a cloud of directors, a class not free from jealousy, and not always easily satisfied, and the management of a very large orchestra. All things considered, this almost impromptu festival went off gallantly. There was probably more musical talent, native and foreign, impressed into the public service on this occasion than in any one week before. We had all our best artists of various nationalities, making a cosmopolitan mélange of nearly all the famous compositions of the composers of all great musical nations.

The success of the Beethoven festival, allowing for all drawbacks, gives a fair prospect for another such grand musical treat, and we hope to see it renewed at no distant time.”

Review: New-York Daily Tribune, 20 June 1870, 5.

“The Musical Festival dwindled away steadily after the ‘Elijah’ night, and on Saturday evening [illeg…] and general debility. Its last hours were disturbed by the clamors of unpaid artists and impatient auditors, and hardly a friend remained to close its eyes. Friday and Saturday were both devoted to miscellaneous programmes, mainly repetitions of operatic selections which we have already noticed, and of Mr. Gilmore’s cannon specialties, for which the popular affection remained to the last unshaken…Saturday evening the performance was announced to begin at 7 o’clock. It did not open until ten minutes before 9—the delay resulting, we understand, from pecuniary difficulties. There was some good music, however, at last. Parepa, but for whose support the festival would have tumbled to pieces long ago, sang several times. Mrs. Seguin, who is always welcome, displayed the power and richness of her beautiful voice to unusual advantage in a solo from ‘Oberon;’ Brignoli gave his long-promised ballad, ‘Good-bye, Sweetheart,’ and joined Parepa and Miss McCulloch in the trio from ‘Don Giovanni’ (which was not good,) and Mr. Gilmore produced all his sensation pieces, including Jullien’s ‘Quadrille of all Nations.’ The orchestra by this time had wasted away to about sixty players, and the chorus was quite too small to be counted—about as small, in fact, as the audience. The promised selections from the Ninth Symphony, we are happy to say, were not given.”