Charles Fradel Concert

Event Information

Irving Hall

Price: $1; $1.50 reserved

Performance Forces:
Instrumental, Vocal

Record Information


Last Updated:
7 June 2016

Performance Date(s) and Time(s)

16 Mar 1865, Evening

Program Details

Signor Fossati and Mr. W. A. King, the organist, were originally announced but were indisposed and did not appear. Adelaide Phillips replaced Mme Bosisio.

Performers and/or Works Performed

Composer(s): Meyerbeer
Participants:  Adelaide Phillips
aka Elly Mavourneen
Composer(s): Crouch [composer-cello]
Participants:  Adelaide Phillips
aka Coming through the rye
Text Author: Burns
Participants:  Adelaide Phillips
aka Grande polonaise
Composer(s): Fradel
aka Deux morceaux de salon
Composer(s): Goldbeck
Participants:  Robert Goldbeck
aka Fantaisie sur Lucia di Lammermoor, souvenir de Donizetti, op. 33
Composer(s): Vieuxtemps
aka Guglielmo Tell; William Tell; Introduction
Composer(s): Rossini
Composer(s): Fradel
Participants:  Charles Fradel


Announcement: New-Yorker Musik-Zeitung, 26 February 1866, 103.
Announcement: New-York Times, 14 March 1866, 8.

“Mr. Fradel, in a quiet, unpretentious way, has, during the past ten years, dragged up a light and airy style of music, which before was tedious and uninteresting, to an art point. In knowledge, capacity and taste he is without a rival. Any one who buys a piece of music by Fradel can ascertain the facts for himself.”

Announcement: New York Post, 15 March 1866, 3.
Announcement: New-York Daily Tribune, 15 March 1866, 8.

“Mr. Charles Fradel has many claims upon public recognition; he is an admirable musician, and as a composer, he has furnished our salons with some of the most charming music of the day, while as a pianist, he exhibits exquisite refinement, unimpeachable taste, and an intelligent expression which only a creative musician can impart.  Mr. Fradel has a large circle of admirers and friends, for whom he has prepared a rare intellectual feast.”

Announcement: New York Post, 16 March 1866, 2.

“We would again call attention to Mr. Fradel’s concert at Irving Hall to-night.  Mr. Fradel’s extended and deserved popularity here ought alone to entitle him to a success, but he has secured such able assistance as seemingly to make this a certainty.”

Advertisement: New-York Times, 16 March 1866.

Includes program.

Announcement: New-York Times, 16 March 1866, 5.

“The programme is unusually interesting. . . . Several instrumental pieces, written for the occasion, will be played for the first time.”

Announcement: New-Yorker Staats-Zeitung und Herold, 16 March 1866.
Review: New-Yorker Staats-Zeitung und Herold, 17 March 1866, 8.

Good attendance, program and performance. Some of Fradel’s compositions were performed and they were very interesting.

Review: New-Yorker Musik-Zeitung, 19 March 1866, 144.

Well attended event. Mr. Fradel played very well. His compositions are some of the best published salon pieces. They are melodious and well done, however; they are not for being performed at a concert hall. Mills, Thomas, Anschütz and Goldbeck supported Fradel efficiently.

Review: New-Yorker Musik-Zeitung, 19 March 1866, 145.

(…) Mills and Goldbeck played Chopin’s E-minor concerto beautifully. Ritter’s “Romance and Allegro” for violin and piano is a difficult piece, however, but mastered with sensitivity and creativity by Ritter. The only weakness of this work is its length.

The impressive finale of the concert was enriched by the splendid Steinway grand pianos.

Review: New-York Daily Tribune, 20 March 1866, 4.

“Mr. Charles Fradel, the well-known composer and pianist, gave his first grand concert of vocal and instrumental music at Irving Hall on Friday evening last.  The following artists were announced to appear: Mlle. Bosisio, Signor Ardavani, Signor Fossati, and Messrs. S. B. Mills, R. Goldbeck, Theo. Thomas, G. W. Morgan, Wm. A. King and Carl Anschutz. As usual at concerts of this kind, several disappointments occurred in the shape of apologies of artists who were unable from a variety of causes to appear. Mlle. Bosisio had to sing at the Academy and could not duplicate herself at Mr. Fradel’s concert, so Miss Adelaide Phillips sang in her place. Signor Fossati and Mr. W. A. King, the organist, were both prevented from appearing though indisposition. There was still sufficient excellent material left from which to work out a capital concert.

    Miss Adelaide Phillips sang her great aria from Le Prophete very finely, throwing into it a depth of passionate earnestness which is so marked a characteristic of her style. She gained a unanimous encore, and responded in a very quaint and pleasant manner the popular Scotch ballad, ‘Coming Through the Rye.’ In her second selection, she was equally successful. Signor Ardavani sang with much taste and expression. Notwithstanding his operatic proclivities he appears to great advantage in the concert-room.

Mr. Charles Fradel played two selections from his own works, both elegant and charming compositions.  Mr. Fradel does not claim to be a concert solo performer, but he nevertheless plays with the grace, refinement and method of an accomplished artist.  He throws character and changeful expression into his performance, which give to it a peculiar interest, and make us feel that we would rather hear him often than many others who play a great deal more. We have heard him to better advantage than on this occasion and still his performance was very acceptable. He played a portion of his own grand Polonaise, which is a spirited, melodious and characteristic composition, with Mr. S. B. Mills, so well that it won a unanimous encore, when he performed one of his sprite-stirring dances, which pleased everyone.

Mr. S. B. Mills never played more brilliantly or more successfully. He interpreted his music in the true spirit, and threw into it a mingled grave, spiritual sentiment and brilliancy, which gave the just coloring to Chopin’s masterly composition. We have rarely heard Mr. Mills when he seemed more ripe in his admirable powers. He was enthusiastically greeted throughout. Mr. Robert Goldbeck played the orchestral accompaniment on a second piano, and sustained Mr. Mills, with true musicianly appreciation.  He also performed a solo with fluency and power, which was warmly applauded.”