Philharmonic Society of New York Concert: 6th

“The sixth concert given by the Philharmonic Society of New-York, this season, took place at the Academy of Music on Saturday evening. It was one of the least interesting of a series of very ordinary entertainments. The Philharmonic Society has secured, this year, the cooperation of few artists of prominence, and has produced no new works of interest. While operatic recitals calling into requisition the services of Misses Nilsson and Cary, of Mr. Santley, of Herr Wachtel and of Messrs. Capoul and Jamet were in progress, it would not have been a difficult task, in our judgment, to have varied the monotony of rehearsals of instrumental music by the interpretation of selections from classical music by some of these performers. No attempt in that direction, however, was made, or at least none was successful, and the closing performance was as spiritless as can be imagined. As usual, the orchestra’s share of the night’s work was most satisfying. The band played exceedingly well Schubert’s fine symphony in C, written in 1828, and declared by Mendelssohn and Schumann to approach most nearly to Beethoven’s colossal compositions; the andante from Beethoven’s ‘Trio, op. 97’ and Liszt’s highly-colored symphonic poem called ‘Mazeppa,’ executed already by the same forces, and also by Mr. Thomas’ men. The soloists of the concert were Mr. Richard Hoffman, who delivered with correctness Mozart’s concerto in A, and Miss Antoinette Sterling, whose choice of songs—the lady sang a ‘Schummerlied’ by Bach, and several of Schumann’s lieder—was at least infelicitous.”

“The concert of the Philharmonic Society on Saturday evening,--the last of the thirtieth season,--presented the following program [see above].

“This was one of the best concerts of the season. The orchestra was in capital trim, and gave an admirable interpretation of Schubert’s great syphony of ‘heavenly length,’ albeit the pace in the accelerando of the third movement was a dangerous one. The execution was both spirited and graceful. So it was also in Liszt’s arrangement of the well-known Beethoven trio in B flat. Written for piano, violin, and violoncello, the composition seems to have undergone some curious change of spirit in the transcription for full orchestra; and effective as it is, the flavor of Beethoven is certainly missed. Liszt’s ‘Mazeppa’ is to our taste one of the least enjoyable of the series of ‘Symphonic Poems,’ so far as we have yet been made acquainted with them. The famous march, however, redeems it, and this was played on Saturday with true barbaric splendor of tone and well-measured vigor. Mr. Hoffman gave a delightfully intelligent and poetical interpretation of the Mozart concerto, and Miss Sterling did justice to the very trying but beautiful Slumber Song from Bach’s ‘Christmas Oratorio’—a performance which the audience keenly appreciated. For her selections in the second part, this estimable artist took three songs from Schumann’s ‘Dichterliebe, Ich grolle nicht’ (No. 7), ‘Und wüssten’s die Blumen’ (No. 8), and ‘Aus alten Märchen winkt es’ (No. 15). Mr. Henry C. Timm, ex-President of the Philharmonic Society, played the accompaniments for her.

“The season just closed has been a satisfactory but not a brilliant one. Only three novelties have been produced, namely, Mr. Ritter’s fine symphony in E minor, Heinfetter’s ‘Macbeth’ overture, and a concerto of Reinecke’s, played by Mr. S. B. Mills. The symphonies have been [continues with a listing of works performed during the season—see individual concerts]. It was in the vocal music that the concerts were totally deficient, though praise was certainly deserved by Miss Sterling and Mr. Remmertz.”