Event Information

Venue(s):
Steinway Hall

Price: $1

Record Information

Status:
Published

Last Updated:
1 May 2025

Performance Date(s) and Time(s)

07 Apr 1874, 8:00 PM

Performers and/or Works Performed

2)
aka Appassionata
Composer(s): Beethoven
Participants:  Anna Bock
3)
aka Mephisto waltz, no. 1; Faust waltz
Composer(s): Liszt
Participants:  Anna Bock
6)
Composer(s): Servais
Participants:  Charles Verner
7)
aka Souvenir d'Haydn
Composer(s): Léonard
Participants:  Hermann Brandt
8)
aka Shadow dance; Schattentanz; Shadow song
Composer(s): Meyerbeer
Text Author: Barbier, Carré
Participants:  Ida Rosburgh
9)
Composer(s): Vaccai
Participants:  Ida Rosburgh
10)
Composer(s): Schubert
Participants:  Franz Remmertz
11)
aka Yes, thou art mine
Composer(s): Marschner
Participants:  Franz Remmertz

Citations

1)
Review: New-York Times, 08 April 1874, 5.

“A concert at Steinway Hall, last evening, introduced to the public Miss Anna Bock, a young girl about fifteen years of age, who gives promise of becoming an excellent pianist. We speak of her performance as one of promise rather than of achievement, for while Miss Bock showed great technique, and unusual strength and endurance, she did not betray in her readings either the clear insight into the spirit of the subjects set down for interpretation, or the easy command of the keyboard we should expect from a mature artist. The young débutante played exceedingly well, however, and having reached so advanced a stage in a pianist’s career as to be able to execute correctly and brilliantly Beethoven’s ‘Appassionata’ sonata and Liszt’s arrangement of the waltz in ‘Faust,’ it is plain that her future can be looked forward to with confidence. Miss Bock, who was cordially received and much applauded, had the co-operation of Messrs. Remmertz, Von Inten, and Brandt, and that of Miss Rosburgh. Miss Rosburgh, who sang the ‘shadow’ song from ‘Dinorah,’ and some variations by Vaccai, has exceptional powers of execution, but her voice is colorless and her delivery only marked by fluency. To render the notes of the ‘shadow’ song as faithfully as Miss Rosburgh rendered them is to do wonders. It is a pity we should have to say no that delivery of the air could be more devoide of expression and nuancé.”

2)
Review: New York Post, 08 April 1874, 2.
“A very interesting concert was given last night by the above-named lady at Steinway Hall, before an appreciative audience. She made a very favorably impression as a pianist by her performance of the ‘Sonata appassionata’ (op. 57) Beethoven; the ‘Faust’ valse of Liszt; the duet for two pianos (op. 46), Schumann, and by her execution on the piano in Mendelssohn’s trio in D minor (op. 46) for piano, violin and violoncello. Although she is quite young, she can rank among the best pianists we have in this city.
 
Mr. Charles Verner, as usual, made a great success in everything he played, and Servais’s ‘Adagio from Concerto Militaire’ and ‘Romanesca’ received full justice at his hands. Hermann Brandt was also loudly applauded for his rendering of the ‘Souvenir de Haydn’ by Henri Leonard.
 
But the leading success of the evening was made by Miss Ida Rosburgh, who sang the ‘Shadow Dance,’ from Meyerbeer’s ‘Dinorah,’ and a ‘Rondo and Variations’ by Vaccai, in brilliant and artistic style. She was loudly and deservedly encored. Mr. Franz Remmertz sang three songs by Schubert, and ‘Yes, thou art mine,’ by Marschner, in his best manner.”
3)
Review: New-York Daily Tribune, 09 April 1874, 4.

“Miss Anna Bock, a young pianist, pupil of Mr. Von Inten, gave her first concert on Tuesday evening at Steinway Hall. She had the assistance of Miss Ida Rosburgh, Mr. Remmertz, Mr. Brandt, Mr. Verner, Mr. Von Inten, and Mr. Bialla, and the encouragement of a very large and cordial audience. We are informed that she is only fourteen years of age. Certainly we have heard no juvenile pianist whose promise is more brilliant and whose present performance is more satisfactory. Her style is remarkably broad and free for a girl of such tender years; her touch is vigorous; the movement of the wrist is unconstrained, and unlike most young players she has an excellent command of the left hand. We do not expect a very thoughtful or poetical interpretation of the great composers from a child; but we can heartily praise Miss Bock’s rendering of Beethoven’s ‘Sonata Appassionata,’ not only for its force and technical merits, but also for its sentiment.”