Philharmonic Society of New-York Concert: 5th
Event Information
Venue(s):
Academy of Music
Conductor(s):
Carl Bergmann
Price: $1.50
Event Type:
Orchestral
Record Information
Status:
Published
Last Updated:
5 May 2013
Performance Date(s) and Time(s)
23 Apr 1864, EveningProgram Details
The concert was performed in two parts.
Performers and/or Works Performed
1)
3)
Citations
5)
“[F]or a wonder, there was not a jam. Even the Philharmonic Society, it seems, has felt the influence of the Sanitary Fair. Would that it could feel the other influences as quickly. Mr. Bergmann conducted, and the programme was thoroughly varied and excellent. Usually this gentleman’s partiality for the new school—a partiality which we freely confess he has ably justified—leads him to extremes. There are sufferers who yet remember his last programme, and recall the ‘Faust Symphony’ with groans and execrations. On this occasion, however, Mr. Bergmann’s eclecticism was beyond reproach. The past, the present and the future were represented. . . . [The Schubert] has been played before by the society, but never so well as at this concert. Although of inordinate length, even when the ‘repeats’ are omitted, and of vague coherency as regards strict form, it never for a moment ceased to charm and interest the audience. The melodic gems, with which the work is studded, were preserved with rare delicacy, and the ‘harmonic tissue’—sometimes extremely fine spun and sometimes as coarse as matting—was never strained BERGMANN is always happy in works that abound in partial climaxes and lengthy episodes. He is never deceived by them, but graduating the orchestra to their importance as a mere part of the whole contrives to save his culminations for the right place. It is a fault of many conductors that by over-elaboration of subordinate themes they destroy the wholeness of effect and design contemplated by the composer. . . . [The Schumann] also was admirably played. It is one of the worksfor which we have no special preference, being remarkable mainly for the technical skill with which a bold idea is preserved and presented. [The Rietz] brought the concert to a pleasant termination. [Lotti sang the Mozart and Weber] with ability. The progress made by this rising young artist is as noticeable as it is gratifying. . . . This admirable pianist [Hoffman] does not often play in public, but whenever he does so, places us under obligations both for the selection and performance of his pieces. Nothing could exceed the delicacy, clearness, and intelligence of his rendering of this truly charming production [the Hummel.]”
6)
“The orchestra did well with the great legacy of Schubert, with exception of the fourth part, which was taken perhaps a little too lively; the whole performance must be considered excellent.
Schumann’s overture has been heard several times here. It is a work full of grandeur, and will live even if people have long forgotten, that once it served as an introduction to an opera of the same name. Signor Lotti sang in his usual style, and Mr. Richard Hoffman played the dry and meaningless concerto by Hummel in a highly finished, cold and fashionable manner. The concert was concluded by the well-known overture by Rietz, the type of modern Kapellmeister-workmanship. It is very neat and finished, here and there even we meet with a trait of esprit; but frankly, we prefer warmth, heart, fancy, and originality, even ‘want of form,’ if you like, to all this highly finished musical talk, which fails as cold and meaningless upon our ears, as the well-known phrases of the diplomatic world.”
Schumann’s overture has been heard several times here. It is a work full of grandeur, and will live even if people have long forgotten, that once it served as an introduction to an opera of the same name. Signor Lotti sang in his usual style, and Mr. Richard Hoffman played the dry and meaningless concerto by Hummel in a highly finished, cold and fashionable manner. The concert was concluded by the well-known overture by Rietz, the type of modern Kapellmeister-workmanship. It is very neat and finished, here and there even we meet with a trait of esprit; but frankly, we prefer warmth, heart, fancy, and originality, even ‘want of form,’ if you like, to all this highly finished musical talk, which fails as cold and meaningless upon our ears, as the well-known phrases of the diplomatic world.”