Philharmonic Society of New York Concert: 1st

“The series of Philharmonic concerts of the season 1873–74, was entered upon last evening at the Academy of Music. Experience must have taught the public that nothing remarkable in point of novelty is to be expected in the programmes of the society, and hence there could not have been much disappointment when the fact was disclosed that but one composition new to Philharmonic audiences graced the bill. Nor was the entertainment of particular interest in any respect. Its only welcome elements were Beethoven’s Fourth Symphony and Liszt’s ‘Les Préludes.’ Max Bruch’s ‘Introduction,’ which is called ‘Loreley,’ and which, previous to yesterday, was unknown in this country, is a good specimen of orchestral writing, and nothing more; and the solos, instrumental and vocal, were by no means interesting. Mr. Bergmann’s band, we are bound to say, did its work creditably. The symphony in B major [sic] is not, it is true, among Beethoven’s colossal achievements, but it is trying enough, and an intelligent and spirited recital speaks well for the skill and discipline of any orchestra. Mr. Bergmann’s men played the four movements very neatly, the lovely adagio being treated with especial nicety in the matter of shading, and the final allegro being delivered with exceeding vivacity and precision. We liked the execution of the menuetto less than that of the other three parts; it was rather deficient in crispness. ‘Les Préludes’ were finely interpreted, and Bruch’s ‘Introduction’ was done with all the cleverness required to show its poverty of ideas. The efforts of the soloists were not so successful. Herr Ernst Schiever, who contributed to the concert two movements of Spohr’s familiar concerto—Opus 9—is a young violinist of decided talent; but a pure tone and a thorough command of technique, in a composition which exacts eloquence as well as correctness of reading, do not make amends for a want of maestria, such as the artist’s labors last night proclaimed. Mlle. Drasdil, too, was out of her depth. The grand phrasing called for by the scene from ‘Orfeo et Euridice’ is not within the powers of the lady, and in the delicious, but difficult, Rossinian cavatina, ‘Di tanti palpiti’ she revealed a painful lack of homogeneity in her tones, as well as a frequent tendency to inaccurate intonation. In the humbler sphere of a ballad songstress Mlle. Drasdil has won in this City considerable distinction. It was surely no thought of her fitness for a more exalted station that led to the choice of Mlle. Drasdil—or to that of Herr Schiever, we can add—over half a dozen more gifted and schooled performers. Will not the directors of the Philharmonic Society awake to the urgent necessity for more liberal management?”

Review: New-York Daily Tribune, 17 November 1873, 6.

Portions difficult to read. “The first concert of the Thirty-second season of the New-York Philharmonic took place on Saturday evening. Notwithstanding the depression’s influence of financial troubles, it is pleasant to be able to say that no great change was perceptible in the character of the audience, but the old friends of the Society were present in full force. There were [illeg.] or no vacant boxes, and scarcely any empty seats except a few very bad ones in the extreme front of the parquette. [Lists program.]

For the opening of the season the performance was remarkably good. There has been no important change in the composition of the orchestra, and some of the deficiencies which have been conspicuous of late years—especially in the wind instruments—are still apparent. But we imagine that the Society feels itself to be entering a critical year of its existence. Since the Thomas orchestra rose into much remarkable prominence, the Philharmonic has been more and more closely compared with its younger rival, and the public judgment of its merits though still appreciative has been much more severe than it was of old. For the first time in its long career the Philharmonic Society feels the healthy stimulus of competition. Mr. Thomas’s Festival last Spring placed his band in the very fore front [sic] of the musical organizations of America and it must be evident that it will soon supplant the Philharmonic orchestra unless Mr. Bergmann’s players show this season unusual signs of vitality. We are satisfied from last Saturday’s performance that they mean to do it. The symphony was rendered, not of course with technical perfection, but with much more than ordinary spirit, while it is hardly necessary to say that the interpretation, under Mr. Bergmann’s hand, was intelligent and refined. The Society is fortunate in the possession of a leader who always reads Beethoven with a quick and thorough sympathy. The Introduction to Max Bruch’s ‘Lorelai,’ which is new to the Philharmonic Society, but familiar to the frequenters of the Thomas concerts, brought out the strength of the strings unexpectedly well, and in the Symphonie Poem of Liszt’s—the best of the series to which it belongs—there was some unusually good work by the brasses. We have heard both of these pieces performed with more life, and a richer variety of coloring; but they were both highly creditable, and gave evidence alike of study and ambition.

The solos were worthy of the concert. Miss Drasdil has certain faults of delivery, which we have indicated on previous occasions, but she sings with intelligence and feeling. Mr. Schiever may be congratulated upon a very successful execution of the two well-known movements from Spohr’s beautiful concerto, which the programme, comically enough, attributed to Gluck. Mr. Schiever has a careful technique, a clear, though not exceptionally brilliant tone, and a very sympathetic touch. He is probably heard to greatest advantage in the tender, sensuous, and melodious music of which Spohr was so conspicuous a master. In the [illeg., could be “more”] vigorous and dashing school we infer, form his execution of the Allegro, that he would not greatly distinguish himself, though he is always accurate and satisfactory.”

Review: New York Post, 17 November 1873, 2.

“It has been said that the current monetary depression had seriously affected the subscription list to the Philharmonic concerts this season, but if this be the fact there was no evidence of it at the concert of Saturday night, for the Academy of Music was as crowded as usual on these occasions. The concert was an interesting one. Beethoven’s symphony [sic] in B major No. 4 opened the programme, receiving an excellent interpretation. Max Bruch’s introduction to ‘Lorelei’ was listened to with interest, and Liszt’s admired ‘Preludes’ closed the orchestral selections. The vocalist of the evening was Mlle. Drasdil, a lady with a noble contralto voice, well trained and matured. She sang an aria from Gluck and Rossini’s ‘Di tanti palpiti.’ Mr. Ernst Schiever, a violinist of a severe yet graceful style, though lacking in breadth of tone, made his first appearance in this city and was favorably received.”

Review: Dwight's Journal of Music, 29 November 1873, 135.

Lists program to start.

“The healthy stimulus of competition is manifested in the programmes, as well as in the playing, at the philharmonic since Theo. Thomas has resumed his Symphony Concerts in this city [New York], and, indeed, much energy is needed to prevent the old and well founded society from being totally eclipsed by its younger rival. Even in these days of panic, however, there is ample encouragement for both to do their best: and the audience at the Philharmonic concert was as large as ever. The playing of the orchestra at the beginning of the season always evinces a lack of uniformity, easily accounted for by the fact that, during the summer, the players go their separate ways and are, of course, out of practice; but, taking this into account, their performance seemed better than usual, and I believe that during the coming winter they will show a marked improvement over the preceding season. The most conspicuous defect now is in the brass, which is too blaring, and introduced where it is least wanted.

Some parts of the 4th Symphony, as the Adagio, one of wonderful beauty, under the baton of Mr. Bergman, who is a true student of Beethoven, were very finely treated. The Menuetto was not as well rendered; but in the final Allegro the orchestra was thoroughly alive to the composer’s meaning, and finished the Symphony with much spirit and precision.

Max Bruch’s Introduction to Loreley was played for the first time by this Society, but Mr. Thomas had made us familiar with it by frequent repetition at his garden concerts. It is a beautiful piece and was played better than anything else on the list. The Symphonic Poem ‘Les Preludes’ contains much fine work for the violins which, a part of the time, were about half a tone too low. Here was an opportunity for the brass instruments which they did not fail of improving.

Miss Anna Drasdil is a contralto who gained considerable distinction as a ballad singer here last winter; she also sang at one of the Philharmonic Concert, and made a good impression by the remarkable depth and resonance of her voice and the fidelity with which she rendered her music.

These impressions were confirmed by her singing of the scena, ‘Ordeo ed Euridece,’ but it is a difficult piece, and requires a voice of more flexibility than that of the young lady in question, as well as a depth of passionate expression which she did not give to it.

Herr Schiever is a young man of decided talent, but the audience at the Philharmonic deserve something more than this in a violinist, having listened to such players as Sarasate and Wieniawski. He draws from his violin a pure but thin tone; his execution is good, but the breadth of sentiment required for the Allegro of Spohr’s Concerto was lacking.” Provides program for second concert.