Philharmonic Society of New-York Public Rehearsal: 13th

Event Information

Venue(s):
Irving Hall

Price: $.50

Event Type:
Orchestral

Record Information

Status:
Published

Last Updated:
10 May 2013

Performance Date(s) and Time(s)

28 Mar 1863, 3:30 PM

Program Details



Performers and/or Works Performed

1)
LIST OF PERFORMER(S)/ORGANIZATION(S)
Participants:  Philharmonic Society of New York
2)
Symphony, no. 7, op. 92, A major
Composer(s): Beethoven
3)
Francs-juges, Les, overture
aka Franc juges
Composer(s): Berlioz
4)
Efterklange af Ossian
aka Echoes from Ossian; Ossian overture; Nachklaenge von Ossian; Osman overture
Composer(s): Gade
5)
Concerto, piano, no. 2, op. 40, D minor
Composer(s): Mendelssohn-Bartholdy

Citations

1)
Announcement: Dwight's Journal of Music, 21 March 1863, 404.
Works rehearsed.
2)
Advertisement: New York Herald, 27 March 1863, 7.

3)
: Strong, George Templeton. New-York Historical Society. The Diaries of George Templeton Strong, 1863-1869: Musical Excerpts from the MSs, transcribed by Mary Simonson. ed. by Christopher Bruhn., 28 March 1863.

 “With Miss Rosalie and Temple this aft'n to Irving Hall and heard that memorable seventh symphony of Beethoven's rehearsed. What a magnificent composition it is! Little T listened, with his eyes wide opened, and was esopecially impressed by that noble pathetic D major March in the 3rd movement, but found the 4th a bore, and no wonder.

4)
: Strong, George Templeton. New-York Historical Society. The Diaries of George Templeton Strong, 1863-1869: Musical Excerpts from the MSs, transcribed by Mary Simonson. ed. by Christopher Bruhn., 30 March 1863.

"After dinner I sat down at the organ and tooted out, more or less correctly, the opening chords of that amazing 2nd movement of yesterday's symphony.  Templekin instantly recognized it and Johnny said sotto voce, ‘Staccato, I don't like it.  Sounds as if it was raining.  And all dark.  Some great forest. . . .’  To me that symphony & its 2nd movement especially, seems the highest extant musical expression of all that is dark, weird and uncanny. But I doubt more and more whether the sentiment or meaning of first class music can be the subject of criticism at all, whether it is not purely and absolutely subjective, and varying with the temperment of every man that hears it. Referring to Ernst von Elterlein's '12 mo. Beethovens Symphonien nach ihren idealen Gestalt' (Dresden/58), I find at page 58 the [illeg.] way its author is impressed [or inspired] by this 7th Symphony, which I have felt so deeply, & have almost dreaded to think of, for near 20 years--Herr Elterlein interprets it thus--ADD GERMAN QUOTE               I know nothing about Herr Elterlein . . He may be a harmless lunatic allowed free access to publishers and printing offices. His criticism seems to me like dwelling in the [kind of?] reckless jollity thaat pervades Milton's Peenseroso, Young's Night Thoughts, the Oedipus Tyrannus, and the Lamentations of Jeremiah--or the Vis Comica of the Halleluia Chorus.”

5)
Review: Dwight's Journal of Music, 04 April 1863, 8.
“The Philharmonic Society gave their first rehearsal for the last concert of this season.”