Wieniawski Farewell Concert

“Mr. Wieniawski, who is about to leave us for Havana, and to return thence to Europe, gave his farewell concert last night at Steinway Hall before a large and brilliant audience. His noble playing has been cordially relished in this country, and his departure will be sincerely regretted, not only by the small circle of connoisseurs to which a musician must always look for the truest appreciation, but also by the great general public whose fancy he has captivated, whose taste he has improved, andwhose feelings he has so often touched. He played last night an extensive selection of pieces—several of his best, and one or two of his most popular. The most delightful of all perhaps were the Beethoven Romanza in F and his own ‘Legende.’ The others included [see above].

Mr. Wieniawski had the assistance of several good singers, and of an orchestra under Mr. Bergmann, the piano accompaniments being supplied by Mr. Rembielinski. Mr. Maurel, who sang his aria from ‘La Favorita,’ Faure’s ‘Les Rameaux,’ and one or two other pieces, was cordially welcomed as usual. Miss Graziela Ridgway gave the Polacca from ‘Mignon’ admirably, and executed a series of elaborately difficult variations brillantes by Artot on a theme of Pacini’s, with violin obbligato played by Mr. Wieniawski. This young lady has a charming voice, which she is learning to use like an artist, and we heartily congratulate her upon the progress she has made during the past two years. She joined Sig. Ferranti in the duet from ‘Crispino,’ and the vivacious baritone also sang the aria of Figaro from the ‘Barbiere.’ M. Capoul was to have taken part in the concert, but in consequence of the sickness of Sig. Campanini he was suddenly called to Brooklyn to take that gentleman’s place in the performance of ‘Aida.’ A Sig. Arrigotti, however, who has just arrived from Mexico, kindly consented to sing an aria from Verdi’s ‘Forza del Destino,’ and if he will kindly consent never to sing in New-York again the patient public will be very much obliged to him.”

Review: New-York Times, 13 March 1874, 4.

“Although M. Wieniawski has now been before the New-York public almost constantly for two years, his performances are of so high an order that they should not be dismissed without a word of notice. Hence it is not out of place to mention that his benefit concert occurred at Steinway Hall last evening, and that in several respects it was of exceptional interest. Age cannot stale nor custom wither the infinite variety of M. Wieniawski’s art, and even his most familiar performances take on a fresh grace at every repetition. It is not surprising, therefore, that the audience—as brilliant, as critical a gathering as any assembled this season—broke out in plaudits at the close of pieces which have been listened to time and again, and that now and then a murmur of delight interrupted the best-known pieces. Conspicuously good and brilliant as M. Wieniawski’s work, always sounds, there are occasions on which his playing seems possessed of a special charm. Thus, last night, when M. Wieniaswki performed his own polonaise No. 2 and Bach’s ‘Preludium Vivace,’ two numbers listened to already, but as astonishing by the wondrous mastery of the bow and command of the finger-board they exact as ever; and again when he rendered the delicious ‘Capriccio Valse” to the interpretation of the arabesques of which none of Wieniawski’s successors here is likely to prove equal. Besides these compositions, the bénéficiare recited [see above]. M. Wieniawski had capital assistance from several performers, who need no introduction to the reader. M. Victor Maurel certainly requires none, and to say that he sang, among other numbers, Faure’s ‘Les Rameaux’ and Schubert’s ‘Serenade,’ is to imply that the very rare pleasure afforded by the combination of a beautiful voice with an admirable method and a delivery as sympathetic as it is scholarly, was enjoyed. Signor Ferranti, a thoroughly Italian singer, was heartily applauded after interpreting ‘Largo al factotum’ with a brio of the most communicative sort. M. Capoul was to have appeared, but in consequence of the sudden illness of Signor Campanini had to do duty for that gentleman in ‘Aida,’ which was given in Brooklyn. M. Capoul’s place was filled by Signor Arrighotti, a young tenor who had just arrived from Mexico. We wish Signor Arrighotti had made a happier selection than the aria from ‘La Forza del destino,’ which is rather meaningless in the concert-room; it was so far satisfactory that it showed the new-comer to be endowed with a powerful tenor—or perhaps tenor barytonal—organ. Signor Arrighotti, we have to add, sings correctly and effectively; in brief, the impression of his début was quite favorable. The soprano of the evening was Miss Graziella Ridgway, whose pleasant and flexible voice did full justice to the polonaise from ‘Mignon,’ and was used with intelligence and skill in a very trying theme and variations by Artot, the violin accompaniment being supplied by M. Wieniawski. M. Riembelinski was, as usual, at the piano, and a strong and proficient band, under Herr Bergmann, furnished the orchestral accompaniments.”

Review: New York Post, 13 March 1874, 2.

“The concert at Steinway Hall last night was one of those exceptionally pleasant affairs which require an unusual combination of fortuitous circumstances. All the desired elements were, however, felicitously combined on this occasion. There were artists of rare merit, an enthusiastic and friendly audience and a delightful programme. Wieniawski was, of course, the central point of attraction, and never has he played better. A Beethoven selection; two movements from Bach; and his own ‘Legende,’ second ‘Polonaise,’ a waltz, the ‘Carnival of Venice’ and ‘St. Patrick’s Day’ fantasia were all included in his list; and each sweep of his bow only seemed to bring him into more cordial relations with his delighted auditors.

Mr. Maurel, however, shared with the great violinist the honors of the evening. He sang with exquisite taste an aria from ‘Favorita’ and Faure’s ‘Les Rameaux’; while for an encore he gave a lovely interpretation of Schubert’s serenade. Miss Ridgway and Signor Ferranti both added to the interest of the concert—the one by her brilliant bravura vocalization, and the other by his vivacious buffo singing. Mr. Capoul, who had been announced, was summoned to Brooklyn to take the part of Radames in ‘Aida,’ Campanini being ill; and his place at the concert was filled by Signor Arrigotti, a new comer from Mexico. A good orchestra, led by Mr. Bergman, lent its efficient aid.”

Review: New York Herald, 13 March 1874, 3.

“The renowned Polish violinist, the memory of whose wonderful powers as a virtuoso will remain as fresh in the minds of the American public as that of Rubinstein, made his final bow at Steinway Hall last evening. The audience was small, but made up in enthusiasm the lack in numbers. We have never heard the great violinist to better advantage. The almost human-like tone of his magic instrument in his own ‘Légende’ and Beethoven’s romance in F, the exquisite finish of execution amid unsurpassed technical difficulties, the brilliancy and verve that signalized the playing of his second Polonaise, and the high intelligence that communicated itself in the rendering of each work were all there last evening, and it was only natural that the audience hung entranced upon the last strains of a violin which may never be equaled here again. M. Maurel sung an aria from ‘La Favorita’ and ‘Les Rameaux’ with that perfection of style that must always be accorded to him. In response to the first encore he gave the beautiful aria from ‘Dinorah,’ ‘Tu sei,’ with which he has often charmed a metropolitan audience. Miss Graziela Ridgway sang the Polonaise from ‘Mignon’ and Artot’s variations on a theme of Pacini with élan and effect. Signor Ferranti, the prince of buffo singers, rattled off ‘Largo al Factotum’ in his happiest style. M. Capoul, being sick, was replaced by Signor Anigotti, who selected an aria from ‘La Forza del Destino.’ The admirable skill of M. Rembielinski as an accompanist was exhibited on this occasion. An orchestra, under Bergmann’s direction, played a couple of overtures.”