Philharmonic Society of New York Concert: 1st

“The first concert of this season’s series of Philharmonic entertainments occurred at the Academy of Music last evening. The illiberal management of these performances in the past has at length borne its fruits, and yesterday the house was occupied to only about two-thirds of its capacity; this condition of affairs, at the outset of a series of recitals which ought to draw together immense audiences, augers ill, it must be admitted, for the future. The feature of most interest on the programme was a new concerto by Raff, for piano and orchestra. This fresh, clear, and tuneful work is thoroughly worthy of the composer of ‘Im Walde,’ and of a dozen scholarly and withal delightful scores. It is divided into three movements. The first is an allegro, full of vigorous phrases alternating with graceful passages, and abounding in well-marked instrumental contrasts; the second is an andante quasi larghetto, the deliciously melodious theme which pervades the movement being first assigned to the oboes and afterward serving as a groundwork for the graceful arabesques of the piano; the third is an allegro, rich in stirring progressions. As Mr. Thomas’ orchestra, with the co-operation of Mr. S. B. Mills, is soon to render the concerto, we shall be able to form a more definite idea of the worth of its details; but the two recitals it has had leave no room for doubt as to its interest and sterling excellence. Miss Lina Luckhardt, who was the pianist last night, although wanting in virtuosité, and, particularly, in power for the execution of so exacting a task as was allotted to her, is nevertheless entitled to considerable credit for her success in several parts of the concerto. She played with a lack of certainty and with much effort the cadenza closing the first movement, but she interpreted with fluency and brilliancy the delicate passages in the second, and, in the trying third movement, coped successfully with the orchestra. The new overture by Dietrich, called ‘Normanenzug’ did not strike us as a remarkable achievement. Musicians capable of instrumenting their ideas after the most modern fashion are plenty in Germany, but most of their efforts, like Mr. Dietrich’s latest, are merely sound and fury, signifying nothing. Besides these two pieces, the concert-bill included Beethoven’s ‘Pastoral’ symphony, the overture to ‘Euryanthe,’ a nocturne by Chopin, and ‘Arabesque’ by Schumann, recited by Miss Luckhardt, who is an excellent executant in point of technique, and ‘Voi che sapete,’ and the grand air from ‘Le Pré aux Clercs,’ both of which vocal compositions were sung by Mlle. Bianca Donadio, a skilled and promising young artist, French by voice and school as well as by birth. The symphony and the overture were capitally rendered by Mr. Bergmann's orchestra, whose wealth of tone condones an occasional lack of precision.”

“The New-York Philharmonic Society gave the first of its six concerts for the season on Saturday evening at the Academy of Music before a pretty full house. The entire concert—the program and the soloists—provided further proof that the Philharmonic Orchestra intends to pursue the same line that they have so persistently followed for the last three years. In earlier years, the Philharmonic Society took pride in being the first to present to the public novelties of importance, whether created in Europe or here, and at the same time earned a special reputation for engaging the best soloists and virtuosos available. That the society has done this with consistency in recent years we must strongly deny. In terms of presenting new works, the Philharmonic has usually lagged behind [Theodore] Thomas, and when it comes to soloists, it also makes due with second-rate talent. It is true that sometimes, with this approach, talent that has only before blossomed in secret is drawn into the sun of public favor; for that reason, this approach should not be wholly condemned. The question is whether or not the society and public can and will withstand this for the long run. This year’s inaugural concert brought Beethoven’s Pastoral Symphony. Everyone enjoys this atmosphere and solemn landscape portrait in tones, even though the Pastoral has become something of a permanent fixture on the programs of our big concerts in recent years. In addition to the symphony, the orchestra under Bergmann’s direction offered Weber’s ‘Euryanthe-Ouverture’ and the yet little-known overture ‘Normanenzug’ by Dietrich, both in a very satisfactory manner. Dietrich’s overture is a crudely realistic tone painting. The composer works almost constantly with all the colors of the full modern orchestra, which, however, he does with great skill, even mastery. This important waste of energy aside, the work’s fundamental ideas, or rather the motifs in question, appear almost tiny, and the result is that the overture exhausts rather than captivates the listener. Fräulein Donadio sang a few coloratura arias; the lady was exceptionally self-conscious, tremoloed constantly, and sang with both more expression and in a more student-like manner than usual. Fräulein Lina Luckahrdt played a new piano concerto by Raff and two compositions by Chopin and Schumann. The lady is a gifted pianist and has become quite proficient, as demonstrated by the Raff Concerto, the piano part of which requires considerable technical skill and power. The concerto is fresh, original, and real Raff [seems to mean “in Raffian style”], in which the orchestra, at least in the first two movements, is treated as the main force and with a particular preference. The performance was well received, and Fräulein Luckhardt has nothing to compain about the applause she received. But taking everything into account, one must admit that one could demand something more from the Philharmonic Society; though it has certainly made great contributions to the development of our artistic situation, this concert did not live up to the expectations to one is entitled from America’s foremost musical institution.” Provides program for next concert.

“The New-York Philharmonic Society, the most venerable and in many respects the most honorable of our musical associations, begins its thirty-third season with signs of rather more than its usual vitality. It would be a misfortune to the whole country if this [illegible] organization, one of the oldest pioneers of musical culture in the United States, and one of the staunchest supporters of the classical symphonic school, should ever lose its hold upon the reverence and affection of the friends of art. Certainly it is more deserving of our good will to-day than ever; and in our admiration of the brighter and more highly trained orchestra which constantly provokes comparisons with it, we should be not [illegible] ungrateful but short-sighted to neglect this ancient society, which through many changes of directors and conductors and varying [illegible] of management has kept so long its useful course, and may continue to diffuse its elevating and refining influence for generations yet to come. The audience at the first concert on Saturday night was not as large as we have been accustomed to see, and the subscription list this year is said to have been somewhat meager. Philharmonic societies, however, like other things, [illegible] have their dull and their prosperous seasons, and we have too high an opinion of the intelligence and liberality of New-York to believe that these excellent entertainments are to fail of the popular appreciation which they have hitherto enjoyed in such a marked degree. The programme was as follows [lists program].

This selection ought to have pleased a variety of tastes, though a severe critic might object that it contained an undue proportion of solo performances just a little below the proper standard for a Philharmonic Concert. We must do Mlle. Donadio and Miss Luckhardt the justice to say, however, that their pieces were well chosen, and that the execution was more than respectable. The Symphony was played with all the delicacy and romantic grace which generally distinguish Mr. Bergmann’s interpretations of Beethoven, and with a technical excellence in some of the individual performers—notably the first flute, Mr. Rietzel, which we cannot forbear to mention particularly. Although the orchestra is inferior to Thomas’s in clear tone, precision, vigor, and brilliant color, it has a compensating grandeur of its own in the great mass of the strings. If we are not mistaken, the brass instruments are placed somewhat lower than they used to be, and this arrangement naturally brings out the weight of the strings more clearly.

The concerto of Raff’s is a new work and was played for the first time in this city. While it lacks the delicious freshness and spontaneity of Grieg’s concerto, introduced by Mr. Thomas at his recent Symphony Concert, it is undoubtedly a charming composition, and likely to take a permanent place in the pianist’s repertory. The two themes of the first movement are bright, melodious, and distinctly original, and the character of the whole movement is remarkably elegant. It has none of the prolixity which has been objected to in some of Raff’s recent writings. The second movement bears the unmistakable impress of the northern muse, its theme being a dreamy romanza, given out first by the oboe, with a charming accompaniment of bassoon, violas, and ‘celli. The third movement is a lively and sonorous march, with a strongly accented rhythm and a free use of the tympani and brasses. Miss Luckhardt performed her task with great intelligence and self-possession. She has a clean and refined touch, and though her physical powers are not of the greatest, she plays with taste and expression. She is a pupil of Mr. S. B. Mills, who is to play the same work at Thomas’s next concert.

The Dietrich overture, ‘Voyage of the Normans,’ comprises three well defined themes—an introductory undulating movement, a stately religioso, and a striking metrical passage perhaps intended to represent the people’s song. Out of these hints each hearer may construct an explanation of the overture to suit himself. The coloring of the work is a little somber, but for solidity and compactness it is admirable.” 

“On Saturday evening the New York Philharmonic Society gave their first concert of the present season at the Academy of Music. The opening piece was Beethoven’s celebrated Pastoral Symphony. This lovely idyllic tone-poem is always welcome at symphony concerts. As an idealistic work of art it stands as a model of greatest use to composers of characteristic music. It was admirably well performed, and being familiar to the audience was fully appreciated.

Raff’s great concerto was new to many, and therefore failed to make on them so good an impression as it will on subsequent hearings. The work having already been reviewed at length in these columns, it will here be sufficient to say that it was well received by the audience, who appeared to derive the greatest gratification from the andante movement. Its lovely melodies moving slowly along allow time for their comprehension, and being frequently repeated, though in different forms, may soon become so familiar to the attentive as to be thoroughly enjoyed.

Miss Lina Luckhardt performed the solo with remarkable success, though it was a considerable effort; for, as we have already pointed out, the building is extremely large to fill with tone, and a pianist must make great exertions, and bring out the full powers of the instrument, to be satisfactorily heard. The accompaniments were played softer than at the rehearsal, so that the soloist was not so severely taxed. She played the nocturne in F sharp major by Chopin and ‘Arabesque’ by Schumann in the second part of the concert most artistically.

The Academy of Music is not well adapted for concertos. In ordinary music halls the flat ceilings and unbroken surfaces of side walls allow the sound to travel freely along, and sometimes give a slight resonance. But at the Academy the partition at the back of the stage behind the orchestra, does not act as a reflector; the tone is partly lost between the side [illegible] and roof, and that which enters the house is soon absorbed or entangled. Little [illegible] assistance is given to the tone as in ordinary concert rooms, and therefore it falls comparatively dead. But with such good music, so well rendered, one can afford to disregard sensuous impressions.

Mlle. Bianca Donadio sang two songs with orchestral accompaniment, which were well suited to display the beauty of her voice and style of singing, but the good effect that these would have made was completely marred by the incessant use of tremolo. This tremulous fluttering of the tone when used occasionally to express great internal agitation is quite admissible; but it becomes unbearable as a flickering light when so constantly employed.

However, the vocal music is not generally particularly good at orchestral concerts. It would perhaps be well to dispense with it altogether, especially if direct appeals are to be made to the passions; for instrumental music proper is uniformly elevated and dignified; it does not stoop to the expression of instinctive personal emotion, but to those emotions which are largely dependent on thoughts; it addresses the intellect and reflective powers and causes us to enter the realms of meditation. This mood being once induced should not be rudely destroyed. Vocal music as above is then regarded as an intrusion; it disturbs our contemplative frame of mind, draws us from the subjective state as from some blissful dream, to which we may not always, by force of will, return. It would appear preferable to begin with a brilliant overture instead of ending with one, that the audience may be comfortably seated before the symphony is played.” 

“The first concert of the representative [illegible] society of New York took place on Saturday [evening?] at the Academy of Music before a rather [illegible] audience. The programme was the following [lists program].

We cannot commend Mr. Bergmann’s reading of Beethoven. Some of the familiar measures of the pastoral symphony received rather cold treatment on this occasion. There was an evident lack of spirit and brio and heartiness in the rendering. ‘The Voyage of the Normans,’ by Dietrich, although it is strongly orchestrated, did not impress us as favorably as at the first hearing with Thomas’ orchestra at Central Park Garden. Weber’s lovely overture was delivered with more regard to art. In these orchestral works, however, considerable exception must be taken, as far as their rendering on Saturday night was concerned, to the absence of unanimity and homogeneity of expression or conception on the part of the orchestra. The soloists, Miss Luckhardt and Miss Donadio, deserve a special notice. The former, a young American lady, who has played frequently in small concerts in this city, made her first bold essay as a virtuoso. The Raff concerto, of which so much has been said in advance, did not fulfil the great expectations formed of it. The first movement is dull and dreary and does not possess many original ideas. The second part, a lovely andante elaborated à la Chopin, is the real feature of the work. Commencing with an oboe solo, which is afterwards supplemented by a new theme given by the ‘cello, the movement merges into some very declamatory piano passages, which were rendered by Miss Luckhardt with poetical fervor and poetical expression. The finale is eccentric in style and introduces many passages evidently based upon the ‘Rhapsodie Hongroise’ school of Liszt. Miss Luckhardt acquitted herself as an accomplished artist from the beginning to the end, although there were indications at times of physical weakness in some of the strongly instrumental passages. The orchestration of this concerto in many places is really absurd. In the first movement the entire brass department is brought in with deafening effect, and the consequence is that there is no chance for the piano to be heard, although it had some very pretty Henselt passages. Chopin, Henselt, Liszt and Mendelssohn have been heavily drawn upon in the construction of this work. The last two selections of Miss Luckhardt were rendered by her with exceeding beauty of sentiment. It was a matter of regret that she should have chosen the least interesting of Chopin’s nocturnes. The works in G minor or A flat major would have produced a better effect. Schumann players are at all times rarae aves, and Miss Luckhardt was no exception to the general rule; but throughout the concert she proved herself to be a highly accomplished artiste, gifted with an intelligence and poetic feeling of a rare kind. The other soloist, Mlle. Donadio, was not so successful. Her rendering of the Mozart aria was characterized by a constant tremolo and was destitute of expression. Herold’s work might be designated as a violin solo, with soprano obligato and orchestral accompaniment, for all the effect made by the singer. When such a society as the Philharmonic select a vocalist their subscribers expect something more in accordance with high art than Mlle. Donadio. The desired reform has not yet made itself felt in this society.”

“The programme of the first Concert of the Philharmonic Society, Nov. 14, at the Academy of Music, was arranged as follows [lists program].

The lovely Pastoral Symphony is a favorite of the audience as well as of the orchestra, but could it not be played and enjoyed without such Cheap John interpolations as the following? (copied from the programme) ‘In this movement the effect of the slow but increasing motion of a small stream is very happily depicted; towards its close imitations of the singing of birds are introduced with much effect.’

It is the practice of some of the Societies in London to print in their programmes an analysis of the principal orchestral works to be played. These articles are usually the work of skilled and trained writers, who, in addition to a knowledge of the English language, have a comprehension of the subject to be treated. A descriptive analysis of this kind may be of some use to those who are hearing a new or obscure composition, but it is not complimentary to the audience to dish up weak and washy sentiment in connection with any music, to say nothing of music so grandly simple and self-explanatory as this of Beethoven. The space occupied by such ‘descriptions’ might better be given to a portrait of the man who died after reading one of them.

The symphony was very well played, barring the horns, which would limp and bray and which the conductor would not always bring in on time, conduct he never so wisely [sic].

The strings have adopted the method of bowing in unison; an improvement apparent to the eye, if not to the ear. The Raff concerto is good—but it is not as well liked as the one by Grieg which was recently played at Steinway Hall; and by the way, the Raff concerto is to be played there by Mr. Mills at the next Symphony concert.

Miss Lina Luckhardt, the piano soloist, rendered the concerto, which abounds in technical difficulties, in a manner which was neither very good nor conspicuously bad. She is certainly an accomplished player and, with more study and experience, she may yet make her mark. Her performance was mechanically correct, save that she played too much from her elbows. Like most lady players she has yet to learn the management of the pedal; Otherwise she will find herself eclipsed by some performer (of less talent perhaps) who knows how to use that important auxiliary without abusing it.

The fact that her playing of the Concerto was deficient in clearness and in delicacy of expression is to be attributed mainly to her misuse of the pedal. The two little pieces of Chamber music, in part second, seemed almost lost in the great opera-house. And a votary of Chopin might object to the lady’s reading of the nocturne, where for example, instead of playing the notes in groups of five, evenly one by one, she broke the rhythm by accentuating the first note of each group.

Of the vocalism perhaps I should say nothing, for I can say no good. Mlle. Donadio sang Mozart’s lovely air, as I heard a fellow sufferer observe, ‘with about as much expression as a man would chop wood.’ She sings with that abominable Italian tremolo, which is not even its own excuse for being, as, in nine cases out of ten, it is employed only to cover defects, and which is, perhaps, the most disagreeable fault or mannerism into which a singer can fall. Thus it was that, in the Aria from ‘Pré aux clercs,’ the applause was given to Mr. Meyer, who played the Violin Obligato, instead of to the singer.”