Organ Concert: 18th

“The programme will consist exclusively of compositions of the immortal John Sebastian Bach.”

Includes program.

“Yesterday afternoon, at the Church of the Holy Trinity, in Madison avenue, the eighteenth organ concert was given. The executants were Miss Anna E. Dunphy, mezzo-soprano; Dr. Leopold Damrosch, violinist, and Mr. S. P. Warren, organist. The programme consisted entirely of the works of Johann Sebastian Bach. Of the significance of this we have already spoken.

The concert began with the highly florid Prelude and Fugue in B minor, the tenth of the critically correct edition of Peters of Leipzig. Then followed the Sonata in C major in three movements, the Largo of which was specially admired. The great ‘Chaconne’ in D minor was then played on the violin (unaccompanied) in the most satisfactory manner by Dr. Leopold Damrosch. This wonderful work has received special notice in these columns, and also its treatment by Raff, Schumann, Best and Mendelssohn, and therefore it will be sufficient to say here that it was performed in its original form

Dr. Damrosch produces a firm, strong tone which, notwithstanding the disadvantages of his position (in the side gallery) was fully heard throughout the entire building, without appearing thin or wiry in quality.

Every note of this extremely difficult work was ‘stopped’ in perfect tune, and Dr. Damrosch delivered it like a true artist, from memory, and with the freedom of Herr Joachim; revelling[sic], as it were, in the inexpressible beauties of this wonderful production.

The organ Fantasia in G major that followed begins with an introduction (Très vitement) that is so modern in style that one can scarcely avoid noticing the fact that Bach herein supplied Thalberg and other pianists with ‘figures’ for their variations.

The second movement of the Canzona in D minor is constructed on a theme which Balfe has seized and given to Berengaria in his ‘Talisman,’ and which we noticed as being probably the most attractive song in the whole opera, namely, the song of Navarre, ‘Beneath the Portal.’ Even the rhythmical structure of this romance is identical with the Bach theme. The fugue in E flat is the one known as ‘St. Ann’s,’ on account of its three movements being written on the first line of this time-honored melody. The preceding prelude, however, which Mendelssohn played at the Birmingham festival and mentioned so enthusiastically in his letters, was not played.

Miss Dunphy sang the celebrated aria ‘Have Mercy upon me, O Lord,’ from the ‘St. Mathews’ Passion Music, and Mr. Damrosch the obligato violin solo. This deeply pathetic music was felt to be most impressive. The labyrinthine progressions were all heard with the greatest clearness, and their beauties were fully enjoyed.

The magnificent Toccata in F closed the concert. Mr. Warren fully sustained his high reputation by his exertions on this occasion.

We wish that some society in this Protestant country would take up the choral works of this great Protestant musician and give us an opportunity to hear, say, one of the six grand motets for an eight-part chorus without accompaniment. Such a performance would bring as much if not more renown than the production of Beethoven’s Grand D minor Mass or other equally important work.”