Articles reviewing the concert and dramatic seasons of 1869-1870

Evidently quoting the New York Express. “It is now generally conceded that the past season has not been as profitable, nor of as high an artistic standard, as the one preceding it. Classical music and really first-class concerts have not been offered with the same liberality as formerly. Even the philharmonic fell below its own standard of excellence, and fell off in patronage. At the same time it has been noticed that success has centered more than ever before in those concerts given for charitable purposes. It was found that the great benevolent enterprises, such as that for the ‘Sheltering Arms,’ drew away the fashionable and cultivated people from the Philharmonic and similar standard entertainments, by means of new and greater attractions, and the opportunity offered to mingle charity with the enjoyment of the best music. We know not how far the very brilliant and successful series of concerts at the Christian Association Hall may have contributed to the depression of the regular and Philharmonic season, nor how vast was the benefit conferred upon the deserving charities of our city; but it does seem that our friend Weber must have been the principal gainer by this change, for with but few exceptions of the Weber Grand Piano has been the only one that has appeared upon the metropolitan stage during the season, and that has kept even pace with the new and deserving movement. Mr. S. B. Mills, of whom a cotemporary [sic] remarks, ‘It would seem to be impossible for him to exhibit such a remarkably sympathetic power over any other instrument,’ has identified himself with the Weber Grand during the season. Madame Parepa for two years has used no other instrument, because it is so especially adapted to her magnificent voice. The same is true of Miss Kellogg, who used it in all her brilliant concerts. Miss Topp has carried it with her everywhere. Indeed, form the time that Miss Mehlig created such an enthusiasm in Boston at Theodore Thomas’s famous concerts, on this instrument, and all through the subsequent Brignoli, Bristow, Maretzek, Mora, Berge, Markstein entertainments, down to the closing Springtide festival, at which Kowalski won a triple encore on the Weber Piano, there seems but one record—wherever the friends of music were assembled the Weber Piano was found. So there is reason to believe the general statements of the press, that it has driven almost all other Pianos from the concert-room, and we can understand how Weber shows an increase of 206 per cent [sic], and is at this moment increasing his mammoth factory to double its size. N. Y. Express.”

Long and general review of the theatrical season of 1869-1870. No mention of music. Additional general review of the preceding week’s dramatic performances on page 7 of the same issue.