Engel Organ Matinee: 3rd

The last of Engel’s matinees. “We have already spoken of the excellence of these entertainments, and of the superior merit of the instrument used at them, now so favorably known as the “Engel Organ. The programme of Tuesday is finer than either of those that have preceded it, and those who attend are sure to be pleased.”

Includes programme.

“Mr. Engel gave the last of his popular organ recitals yesterday afternoon before a very large and decidedly fashionable audience. The greatest interest has been created in musical circles by the introduction of such a novel and complete instrument as the Engel organ, in which are combined qualities of tone and touch which were formerly considered impossible in a reed organ. Mr. Engel’s artistic playing, perhaps, contributed the largest share to the popularity of the new organ. The programme of yesterday’s recital was as follows [see above]. Both instruments played with the left hand. The extraordinary effect of the prolonged stop was thus to be strikingly exhibited. The instruments were turned toward the audience, so as to show that they were both played with one hand only.”

“Mr. Engel, at the Union League Theatre yesterday afternoon, gave the last of his series of matinées on the Engel organ and the organ-piano. In one or two instances –notably in the illustration of the ‘Let there be light’ passage from Haydn’s ‘Creation’—he attempted something as utterly beyond the scope of the instrument as it is beyond the power of a Canary bird to emit the notes of an ophicleide. In everything else he was eminently successful. His manipulation is clear and distinct, his style tender and expressive, and he produces from the parlor organ everything of which it is capable. In the programme of yesterday afternoon there were a number of gems. Mr. Engel’s own composition, ‘Echos du Coeur,’ showed charming taste and was exquisitely played. The ‘Cujus Animam’ of Rossini, a nocturne by Chopin, the ‘Rigoletto’ quartet, Handel’s ‘Lascia ch’io pianga,’ were among the selections that impressed the audience most favorably. To all tender, slow movements the instruments of which Mr. Engel is such a master, are naturally adapted; and by the addition of the percussion stop and the piano-forte accompaniment, which is not made more available than ever before, rapid passages are often extremely effective. Mr. Engel has succeeded in winning the first position as a performer on the cabinet organ, or harmonium, or parlor organ, as these reed instruments are variously called.”

“Mr. Lewis Engel has given three matinees at the Union League Club Theatre, for the purpose of exhibiting the ‘Engel Organ,’ made by Nasham. This is distinguished by an ‘expression’ stop operated by the foot, a patent percussion stop for pizzicato effects, and various other improvements on the ordinary reed organ. The programmes were somewhat classical, including the Andante from Beethoven’s Fifth Symphony; Agnus Dei from Mozart’s First Mass; Menuet from Mozart’s Symphony in E flat; Nocturne by Chopin; Gavotte by Sebastian Bach; Song Without Words by Mendelssohn, &c, &c.

“Mr. Engel also exhibited the ‘Piano-Organ,’—an ingenious combination of the Engel-Organ with an ordinary piano—on which he skillfully played the Serenade from Don Giovanni with accompaniment and pizzicato. Connected with the organ is a knee-pedal by which any note can be held down at the will of the player, thus producing effects impossible on the ordinary organ. But I imagine one would require a liberal education to manipulate the machine.”