Chamber (includes Solo)
22 April 2011
Performance Date(s) and Time(s)
25 Apr 1864, Evening
The concert was performed in two parts.
F. Lachner: Quartette for four violoncellos [probably Serenade, violoncellos (4), op. 29, G major] (Bergner, Mollenhauer, Bergmann and Hooch)
Performers and/or Works Performed
Announcement: New York Post
, 22 April 1864.
Advertisement: New-York Times
, 22 April 1864, 7.
Announcement: Musical Review and World
, 23 April 1864.
“Mr. Bergner, our excellent violoncellist, gives a concert next Monday. He will be assisted by the quartett-club of Messrs. Mason & Thomas, of which he is himself such a distinguished member, as well as by the artist of the former Eisfeld-soirees for chamber music. Mr. Eisfeld unfortunately cannot assist.”
Advertisement: New York Herald
, 23 April 1864.
Announcement: New-York Times
, 25 April 1864, 4.
“We direct particular attention to an exceedingly interesting concert at Dodworth’s to-night. It is given by Mr. F. Bergner, the well-known violoncellist. The programme is singularly fresh, and introduces several pieces which can only be heard on such an occasion; for instance, Mr. Bergner’s own solos and Lachner’s quartette for four violoncellos. The chief number of the octette by Mendelssohn in E-flat major, opus 20, which will be played by Messrs. Thomas, Noll, Mosenthal, Reyer, Matzka, Schwarz, Bergner, and Bergmann. We trust that Mr. Bergner will be rewarded with a good audience attendance. He is one of the best artists in the metropolis, and a constant worker for all that is good and correct in musical taste.”
Review: Musical Review and World
, 07 May 1864, 153.
Includes program. “Mr. F. Bergner’s Concert was well attended in spite of the inclemency of the weather. . . .
Mendelssohn’s octette made, as usual, a very agreeable impression. It is one of the very best works of the author, especially in the first and third parts, which contains some traits of originality and boldness, sadly missed in the other parts. The slow movement shows that deficiency of melodic power, which will always make itself felt in Mendlessohn’s music, in spite of a great many other points for admiration the latter offers.”