Philharmonic Society of New York Concert: 5th

Includes programme.

“The Philharmonic Society gave their fifth concert at the Academy of Music on Saturday night, the programme consisting of [see above]. The magnificent symphony, intended ‘to celebrate the memory of a great man,’ the most imposing, perhaps, of the nine massive pillars erected which support the temple of orchestral music erected by Beethoven, has become the most welcome feature in a Philharmonic concert, and is regarded by the members with a love and veneration that render its performance by them delightful. They dwell with fondness on the mournful measures of the marche funebre, touch the scherzo with all the care and nicety that such a dainty subject demands, and throw themselves into the finale with unrestrained fire and impetuosity. The overture, in which Mendelssohn at the age of twenty-one pieced together the inspirations which he had previously conceived among the basaltic caverns of the Western isles of Scotland, has been long a favorite with the American public, and we believe it is about seven years since this society gave Bargiel’s masterly work.

The Liederkranz Society gained the first prize at the Philadelphia Saengerfest by their admirable singing of Frey’s expressive four part piece, and their rendering of it on Saturday night was perfect in the ensemble, nicely shaded and full of expression. Lachner’s work is a rather noisy affair, a la militaire, and, although possessing a great deal of merit in that line, does not call for special comment. A violoncello concerto in two movements is exceedingly dry and tiresome.”

“The fifth concert of the present season of this old established society drew a large audience at the Academy of Music on Saturday evening, and although our ladies of fashion did not form so great a proportion as on opera nights, they yet showed, by their presence in large numbers, a willingness to patronize and a desire to appreciate what is exceptionally termed classical music. They, and all, were rewarded by the faithful rendering of the following programme [see above]. 

Beethoven’s famous symphony received excellent treatment. Movement No. 2, Marche funèbre, was feelingly interpreted, but we fancied the pianos might have been even more subdued, with an addition to the effect. We know, however, how difficult it is for a conductor to tone down sufficiently the playing of so large a band of violinists. No. 3, the Scherzo, was charming, the crescendo movements being notably fine. The melody, also, of the finale was beautifully brought out, and the terminating rapid movement concluded in a spirited and dashing manner a very fine rendering of the symphony. The band, likewise, in the second part, did justice to Mendelssohn’s impressive overture, but the choice of this somewhat turbulent piece, followed by the noisier performance of the Liederkranz and the loud Prometheus overture, suggested that rather more contrast should be studied  in the adjustment of the programme.

We were glad to have an opportunity of hearing the Liederkranz, but the first piece possessing more contrasts than melody, and the last a rather overpowering accompaniment. It was difficult to judge of the voices; nevertheless, it may be said that the predominance of bass and baritone over tenor voices produced a heaviness which leads us to regret more than ever the absence of ladies’ voices, or their substitutes, from these societies.

Perhaps the greatest treat of the evening was Mr. F. Bergner’s tasteful and masterly execution of the concerto for violoncello, which produced a deserved recall. The orchestral accompaniments to this piece were kept in desirable subjection.”

“The fifth Philharmonic concert of the present season took place at the Academy of Music, on Saturday evening. The magnificent ‘Eroica’ symphony was done by the orchestra, under Mr. Bergmann, and it may be claimed that to hear that immortal work as skillfully rendered as it is by the Philharmonic was sufficient to repay attendance. The lack of distinguished soloists, however, is sadly felt in these concerts, and when the performance of a violoncello concerto by Mr. Bergner, a very conscientious but in no way eminent artist, and the execution of two choruses by the Liederkranz Society, are offered as potent attractions, forebodings of a still drearier future are prone to beset the least exacting lover of music.”

“There was an unusually large audience at the Philharmonic concert last Saturday evening, when Mr. Bergmann presented the following good programme ([see above].

The symphony was not given without one or two noticeable mistakes, but the general spirit of the performance was excellent, the scherzo and finale being especially successful. Mendelssohn’s fine overture was played con amore, and Bargiel’s ‘Prometheus’ received a careful and delicate interpretation, which did not save it, however, from the reproach of dullness. The part-singing of the Liederkranz male chorus was far preferable to the indifferent solo vocalism of which the Philharmonic has given us so much this year. The ‘Warrior’s Prayer’ of Lachner, an impressive and spirited composition, sung with the orchestra, seemed to be the more generally relished of the two selections, and was certainly better done. Mr. Bergner’s concerto was another good feature of the entertainment. He played with his usual sensibility and refinement, albeit with too much of the tremolo.”