Philharmonic Society of New-York Concert: 2nd

“The ninety-first concert of the New-York Philharmonic Society was given at the Academy of Music, on Saturday last, under the direction of Mr. Theodore Eisfeld. Beethoven’s superb tone-picture, the Sixth symphony, was the opening attraction of the programme, and so far as merit is concerned might have been the closing one also. Writers like Gade and Wagner are very small deer beside the deaf giant who conceived this joyous Bucolic--this eternal song of whispering trees, waving harvests, babbling brooks, and human peace, good will, and contentment. The symphony was interpreted very carefully, and received much merited applause. A morceau symphonique terminated the first part, and owed its position there, we imagine, to the fact that Mr. Goldbeck was the solo pianist of the evening. This talented musician has a worthy ambition. The mere display of of technical skill does not satisfy him; in fact there are others who can excel him in this speciality. When he comes to the Philharmonic Society he is always prepared with a new work, and in the merit of this he is alone. We know of no pianist in New-York who can write so well for an orchestra--certainly no one who devotes so much of his time and effort to this higher kind of study. The present morceau is a new effort to fuse the piano in the orchestra. In individual character the piano refuses to be fused; it remains always as an obligato instrument. Still in this light it can be put to good uses. Liszt has partially succeeded, and Mr. Goldbeck, in a previous work, ‘Deux Morceaux Symphonique,’ has been more happy than in the present instance. The piano passages, indeed, seem to be very much the same in both works. Nevertheless, the idea of ‘Le Songe’ is pretty and graceful; and the production of such a work is immeasurably more creditable, both to the society and to the soloist than the mere hammering out of an old Liszt fantasie, or some other specimen of piano-mongery. Gade’s overture, called ‘In the Highlands,’ is an early and vigorous work, with more dash of treatment in it than fertility of invention. The overture to ‘Rienzi,’ by Wagner--like that to the ‘Flying Dutchman’--is one of those things that ought never to be played in a concert. It is intended to provoke an intellectual and receptive mood for the subsequent opera, and probably does so; but in its isolated form it is about as cheerful as a dictionary. Why don’t somebody [sic] present the Philharmonic Society with a new piece by Wagner; something from ‘Tristram and Isolde,’ [sic] for instance. The composer is always interesting, but this everlasting repetition of his old things is tedious. Mme. Virginia Lorini was the vocalist, and sang out of tune.”

“The second Philharmonic Concert was given to a full house on Saturday evening last. The soloists of the evening were Mme. Virginia Whiting Lorini, and Mr. Robert Goldbeck. The programme comprised Beethoven’s ‘Pastoral’ Sixth Symphony; ‘Le Songe,’ a Morceau Symphonique, by Mr. Goldbeck, for piano and orchestra; Gade’s overture ‘In the Highland,’ and Wagner’s ‘Rinzi’ [sic] overture. Goldbeck’s ‘Le Songe,’ received the most unbounded praise. ‘The ‘Pastoral’ [sic] with all its charming wood, and brook, and bird music was well executed and a happy introduction to the evening’s programme. The concert was under the direction of Theo. Eisfeld. The next will be conducted by Carl Bergmann.”

Gives program.  “A very large audience attended this concert.  That it was highly fashionable, is a matter of course, for these concerts would fare just as badly as the German opera did, if fashion had not put its stamp upon them.  Thus Beethoven, Mozart, and a great many composers of classical music enjoy the benefit of the best society in New York.  Nevermind by what means this result is obtained, it cannot fail to be of salutary effect upon the musical taste, even of those young people at the concerts, who consider them as the best means of improving their knowledge of—the present female generation of New York.

The music, which was performed on this occasion, has been, with two exceptions, so frequently played and commented upon, that we need not dwell upon its merits anymore.  Beethoven’s Pastoral Symphony, in spite of the undeniable overlength [sic] of the first two parts, appeals too much to the popular taste not to be relished by the audience at large.  It is in our opinion the only symphony, in which a unity of sentiment, idea, and color can be traced throughout.  All the four parts tend to illustrate one purpose, and although in principle there may be said a good deal against this musical landscaping, it is perhaps the best proof of the great genius of Beethoven, that we forget his sinning against most positive aesthetic laws in this symphony, while listening to his music.  We liked the conception which Mr. Theodore Eisfeld showed in his conducting this work, but the performers themselves could not always render justice to his ideas.  Thus the Scherzo, which he quite properly wanted to be played in a very quick time, was not quite distinct in all its features, especially those, as represented by the music, given to the horns.

A very interesting piece of the programme was undoubtedly the morceaux symphonique for piano and orchestra by Mr. Robert Goldbeck.  The author informs us that he intended to effect such a fusion for Orchestra and Piano as to give the latter its characteristic value amongst the instruments without, for the sake of its individual display, detracting from the unity of the composition.  We must say that Mr. Goldbeck has been eminently successful.  The color of the tone of the pianoforte is so well blended with the colors of the different instruments in the orchestra that the familiar keyed instrument appears very often under quite novel aspects.  The author has succeeded to produce effects of combination, which point to a new path in pianoforte-music, that ought not to be neglected by ambitious composers for this instrument.  But also in other aspects the morceau of the young author is well worth listening to.  The two principal ideas are of an elevating character and the treatment is that of an artist, who is most remarkably free from habit that of young writers, of filling their scores with most unnecessary effects, even if taken alone, they show considerable power and talent.  ‘Le Songe’ is a very acceptable composition, in our opinion the best, Mr. Goldbeck has as yet given to the public.

In Mrs. Lorini’s rendering of the first part of the well-known aria from ‘Don Giovanni,’ we missed breadth of style, as indicated in the music; with the Allegro part she succeeded better.  The French air by Artot might have been better dispensed with.

We see with pleasure, that our suggestions with regard to the performance of the Faust-Symphony have not been made in vain.  It will be performed in the next concert.”