German Sängerfest Prize Concert

Program.

     The review is part of a larger article detailing other events of the Saengerfest and the nature of singing contests in general.  “In singing for a prize a great deal has to be considered—first, the composition chosen.  Were one to select La sidarem ci mano [sic] from Mozart’s Giovanni, and another ———‘s ‘Yankee Doodle,’ it would be extremely difficult to decide.  Our sympathies as Americans would certainly lead us to favor the latter, but then, if we were to do so we would be doing a palpable injustice to Mozart, who might take some way of revenging himself upon us were we so unfortunate to meet him in the other world.  And again, were we disciples of the doctrine of miscegenation and upholders of an extension of the franchise to the American citizen of African descent, the airs of ‘Kingdom Comin,’ or ‘Ole Bob Ridley,’ would most assuredly strike us as superior even to La Marseillaise, and again would our feelings get the better of our judgment.  Thus the compositions chosen and the natures of the adjudicators are important desiderata.  An umpire of a sentimental turn might prefer ‘All round my hat I wears the green willow,’ to all the music; while should an Irishman be on the committee, ‘Finnegan’s Wake’ would assuredly carry off the cup.

     Again, it requires a clear and correct idea of what good singing is.  A deafish man would not, under any circumstances, be a proper arbiter, as of course the loudest music would be to him the sweetest.  To imagine that the strength of a voice and beauty of vocalism are synonymous terms is a popular error.  Often, at some of our fashionable watering places, we have been half crazed by being forced to listen to a young lady, fresh from boarding school, screech an inquiry after ‘the friends of her youth,’ or aver that she had ‘No one to love,’ with lungs evidently free from all consumptive symptoms, but with certainly nothing whatever of sweetness of voice.  So, power of vocalization is not a necessity of melody.  The opposite extreme is as bad.  ‘Whisper what thou feelest,’ is all very well for Brinley Richards, but a small voice in a large room is not the thing.  To have to strain one’s neck till visions of the giraffe flit before one’s eyes in order to catch the sound is not conducive to comfort.  Debutantes generally imagine that there has been some aural opera glass invented which causes one to hear a great distance off.  This is a mistake.  As far as we know there is no such instrument.  The ‘happy medium’ is the proper thing.

     Arbitrators in a musical contest should have no prejudices in favor either of a particular style of music or any particular style.  This is, of course, an essential, without which being adhered to no fair decision can be arrived at.  These and many other points must be duly and carefully considered  in the matter of prize singing.

     Truly our German citizens have done the proper thing for their visitors.  Not content with feasting and parading, the New York societies must compel them to enter into a rivalry with one another for magnificent prizes, and last night, at the Academy of Music, the lists were opened.

The Competition.

     The Academy was, as on the previous evening, filled to repletion with a highly appreciative audience, who waited anxiously for the first society to present itself on the stage.  A background, representing a landscape on the plan of the old Grecian theatres was arranged, and at eight o’clock the Philadelphia Saengerrunde, numbering eighteen, came on the stage.  The glee they chose in which to show their musical ability was Yost’s [sic] ‘Only thee,’ to which they did every justice.  The ‘Singers’ Greeting,’ by the Buffalo Liedertafel, followed.  The singers, twenty-eight in number, ranged themselves in a double row, presenting an admirable appearance.  The manner of rendering this beautiful glee was superb.  The subdued passages, swelling into the fortissime [sic], resembled the sound of summer winds sighing through trees, wooing the leaves in softest melody, but gradually increasing in their might, and rustling amid the branches as if spurning those whom they had before courted.  This society met with a decided encore when they sang a battle song, the solo in which was beautifully rendered.  The applause which followed this and the other pieces was not, as is generally the case, confined to the denizens of the upper regions, but was universal.  Parquet and balcony exerted their lungs, repeating the musical call for an encore ‘Da Capo.’  The fair occupants of the reserved seats seemed quite to forget the probability there is of ‘Jouvin’s’ gloves to burst, and clapped their hands in the greatest enthusiasm.  The gallery cried ‘Hi, hi,’ as usual, while the swells’ ‘Bwava’ found a place in the general applause.  The Buffalo, after their double exhibition of talent, having vacated the stage, the Philadelphia Orpheus, twenty in number, sang Andrel’s ‘Hunting Song’ with becoming fervor, not with the pleasing effect of the former, however, the voices in the chorus being rather more strong than sweet.  They came on the stage in a nervous, embarrassed manner, fearful of not acquitting themselves as their predecessors; and, in singing, a want of confidence destroys all.  The Washington Saengerbund, which was to follow, not putting in an appearance, the next competitors were the Hartford Sangerbund, who, in Kruger’s Wine Song, fully established the reputation which had preceded them.  They numbered thirty-eight, and sang with considerable effect – a trio incidental to the piece being beautifully rendered.  In the encore which followed they did not equal their former effort.  The members of the Baltimore Arion, who followed, in ‘What Murmur the Waves,’ seemed to have been somewhat affected by the proceedings of the early portion of the day and did not do the composition justice; but their shortcomings were fully balanced by the Buffalo Saengerbund.

     Haesser’s [sic] ‘Grove’ gave this society ample field for the exercise of their really splendid voices.  The piano portion was sung with an effect which was electrifying as far as the audience was concerned.  In the encore which they deservedly received, they fully equaled their first effort, and so the first part of the programme was closed.  Buffalo thus far had established its superiority, at least so every one seemed to think; by every one we mean ‘ourselves,’ who, of course, have considerable taste in all musical and other matters.

     The conductor is, of course, an important feature in a chorus, and the number s of them who appeared last night afforded us an opportunity for study which, in the interval of the first and second parts, we pondered over.  The model conductor or leader, as regards his appearance, must be faultlessly attired; that most flunkeyish garment which etiquette compels one to assume, the ‘swallow tail,’ must of course be there; snow white kids, which may have been cleaned or not, according to the means and taste of the wearer, must adorn his hands; a white tie, black inexpressible and spring leathers completing the ‘get up.’  A black mustache and pale, expressionless face do well.  His arms and hands must be in the most supple condition, and where there is a baton it must be grasped – thus – we have taken our quill between our reportorial thumb and forefinger.  Last night the most peculiar motions were gone through by the leaders, at one time seeming to be about to strike out into an imaginary sea; at another to soar into space.  We imagine they must have been leading phonographically, from the perfect exactitude with which the members of the chorus answered to their directions.

     The second part of the programme was inaugurated by Kalliwoda’s ‘Storm and Blessing,’ sung by the Philadelphia Saengerbund.  This society numbered fifty, and, arranged in a semicircular manner, they looked as well as they sang.  The glee was arranged as a double chorus, a portion of it being hemi-choral, and was exquisitely sung.  All the voices were of a superior nature, and the combined bursts of song in the first portion of the chorus was truly grand.  A shower of bouquets rewarded the singers for their musical powers, which, as no particular person could lay claim to them, were distributed among them.  In the encore they even excelled themselves; the glee chosen being admirably adapted to their voices, was caught up by the various voices in a most artistic manner.

     The singing has an advantage over orchestral music as performed here, in there being no tuning of voices, as there is of instruments.  Few would care to hear the bassi and tenori, not thinking of the soprani, run through the gamut until they had reached the proper key.  At the raising of the leader’s hand all burst into melody.

     The Baltimore Germania, thirty in number, in Abt’s ‘Sailor’s Dream,’ created a favorable impression on those present.  One would almost fancy he could hear the ceaseless dashing of the waves against the vessel’s side and the whistling of the wind through the cordage – a fitting accompaniment to the vision of the sailor.  Unfortunately, the tenors in this instance were not of sufficient strength to enable them to harmonize with the other voices in the chorus.  In the following glee, Kuecken’s ‘Good Night,’ by the Poughkeepsie Germania, the tenors were admirable.  Though small in number, and not over imposing in appearance, their efforts were deservedly applauded and loudly encored.  No one imagined Poughkeepsie had so much musical talent within its narrow limits.  Schnabel’s ‘Eighth Psalm,’ a glee very much after the style of Handel was beautifully given by the Baltimore Liederkranz.  There was an expression thrown into this sublime air which did not fail to have its effect.  Every member of the chorus was possessed of a confidence inseparable from true talent, and the solo (baritone), assuredly the best of the evening, was exquisitely sung, and received an encore from an audience who, in calling for it, showed their excellent judgment.

     The truth of the saying, not peculiar from its originality, ‘music hath charms to sooth the savage breast even of a hard-hearted policeman,’ was well proven at this stage by several of those indispensable adjuncts in blue and silver being seen heartily applauding at the entrances.  This goes more to prove the ability of music to touch the heart than if we wrote a column.  Abt’s ‘Evening Fete’ was then effectively sung by Germania Liedertafel of Philadelphia, whose sweet voices, conjoined with Abt’s music, stole in a dreamy manner over those present, who but awoke from a delicious vision of the heaven of music to find it over and encore it.

     The Philadelphia Junger Maennerchor now appeared on the stage attired in white duck pants and black coats, and looking admirable.  This was the society which started the first Saengerfest.  In Reissiger’s ‘Wanderer’s Night Song,’ they acquitted themselves well, were encored and showered with floral tributes.  ‘Love,’ a glee of Zoellner’s by the Philadelphia Liedertafel, completed the programme.  From the subject of this glee it may be known it was of a heavenly description, and certainly the lowering of the lights was all that prevented the audience from insisting on an encore.

     The gentlemen who have the difficult task of awarding the prizes are Messrs. Timm, Theodore Thomas and Meyerhofer.  How they can make a distinction, which in only a few cases exists, is more than we can tell.  We think, however, the Buffalo societies, the Poughkeepsie Germania and the Baltimore Liederkranz will have a good chance of carrying something home with them.”

     Includes the program.  “The interest of the Festival, musically speaking, culminated in the concert of last evening, when 13 societies of visiting members gave separate display of their accomplishments, in competition for the prizes prepared for the occasion.  The general public did not seem to share in the vivid interest felt by the German portion of our society, for the house was not nearly as well filled as on Monday evening, although the audience on this occasion was very large.  We can only say that the general public missed an enjoyment that may not be offered again for years to come.

     The concert last night was literally a trial of skill.  The societies had prepared themselves for it, by careful and arduous practice.  Each knew that, at least in some quarters, the competition would be sharp; that the sluggards would be nowhere, and that the audience would be severely critical, inasmuch as the contrasts by comparison would be very keenly defined, and that the taste of the auditors would thereby quickly decide the question of relative excellence.  Under such circumstances, it is needless to say that each society strove to do its best, and the result was, unquestionably, the finest music of its class everheard [sic] in New-York.

     The programme of the concert was as follows…

     These German part songs are so composed, that they require singing as delicate and refined as that demanded for solo singing.  Not only is such excellence required from the first tenor or alto, but the inner parts and bass should be equal in culture and taste, and as faithful to the sentiment as the leading voice, although always subservient to it.  With the mixed material of which all societies is composed, it is no easy task to mold them all upon one model, to bring the rough to a unison with the smooth, to eliminate sentiment from an unsympathetic nature, and so to subdue the whole to one tone of feeling, that the tone-coloring, the delicate shades of effect may seem to be spontaneous, and to appear to be the impulsive effort of one will.  That so many of the societies approached so close up to the standard is highly creditable to themselves, but still more so to their conductors.

     The worst piece in the programme fell to the Saengerunde of Philadelphia, which probably had some effect upon their singing, for although their execution was fair, their intonation was very faulty.  Their success was very moderate.

     The Liedertafel of Buffalo followed in a composition by C.L. Fischer.  The composition was very charming, and the singing took the audience by surprise and held it breathless.  The voices are very fine, and display a thorough training.  They sang in admirable taste, their pianos and fortes were strictly observed, and in both effects their intonation was perfect.  Their crescendo was admirable, no varying in the quality of the tone being observable.  The effects produced corresponded with the points of high excellence mentioned, and drew forth an overwhelming encore, when another piece was substituted, which still further proved the splendid accomplishments of the Liedertafel of Buffalo.  We felt satisfied that whatever might follow, this Society would be the foremost class among which the prizes would be awarded.

     The Orpheus of Philadelphia is by no means a strong club; the tenor voices are weak, the others not very good, and their style is rough and somewhat unrefined.

     The Saengerbund of Washington, D.C., did not sing, because of the loss of their music in the transit to this city.

     The Saengerbund of Hartford sang the spirited ‘Weinchor,’ by Kreuger, with such a force and vivacity, and at the same time so much delicate phrasing, and such breadth of artistic effect, that they gained a unanimous demand for repetition, but they did not comply.  They have fine voices, the solo was especially beautiful; they are prompt to time, and have but one fault, which may, however, only be occasional – namely, a little want of firmness in the passing modulation.

     The Arion of Baltimore were evidently not in singing order, for they sang out of tune; their intonation was generally faulty and in the modulations they were decidedly uncertain.

     The Saengerbund of Buffalo sang ‘Der Wald’ of Hasser [sic] most admirably and gained a tumultuous encore.  Their voices are very fine, they sing in admirable taste, and in point of tone, coloring and general artistic effect of contrasts – piano-forte, crescendo and sentiment and expression, it must certainly stand in the foremost rank of competitors.

     The second part was opened by the Saengerbund of Philadelphia, with a charming work by Kalliwoda, which was sung in a masterly manner.  They have evidently been finely trained, and it is just as evident that they are pliant material, that can be molded in the way required.  They possess all the excellences mentioned as belonging to the first class of competitors.  They were encored, of course, and substituted another piece, which was more finely sung, if possible.  Both pieces were of a higher class of compositions, and were very difficult, which, as they were sung so well, is significant as to their standing among the singing societies on this occasion.

     The Germania of Baltimore sang well.  The voices are good – one bass comes out like a 32 foot pedal pipe; but they are not reliable in intonation.

     The Germania of Poughkeepsie sing very tastefully, but their intonation is bad, especially in the modulations, where they are apt to be very shaky as to time.  They were, however, encored.

     The Liederkranz of Baltimore have very fine voices and sing admirably.  They sing promptly; their pianos are exquisite, and their crescendos all that could be desired.  The baritone solo was charmingly sung and the whole performance was full of taste and sentiment.  It made a great impression on the audience and won a hearty encore.  This Society ranks first class.

     The Liedertafel d. f. d. Gemeinde, Philadelphia created well deserved enthusiasm by its exquisite rendering of Abt’s Abendfeier.  The composition and the singing were gems worthy of admiration.  In all the points of excellence which we have mentioned this society is distinguished, and they can take their rank among the first.

     The Junger Mannerchor of Philadelphia was received with enthusiasm and their fine singing proved that they deserved their welcome.  They sing in fine style, have admirable voices and are good in every point.  At first their intonation was a little imperfect, but they speedily recovered and went on without a blemish to the end.  A hundred bouquets were thrown to them, and they had to repeat their performance amid loud applause.  First class, too.

     The Liedertafel of Philadelphia closed the concert, and sang in a very creditable manner.

     It will be seen by our remarks that the singing, generally, was of a very high order of merit.  We have designated seven societies as first class.  They are the Liedertafel of Buffalo, the Saengerbund of Hartford, the Saengerbund of Buffalo, the Saengerbund of Philadelphia, the Liederkranz of Baltimore, the Liedertafel d. f. d. Gemeinde of Philadelphia, and the Junger Mannerchor of Philadelphia.  We do not presume to anticipate the judgment of the prize judges, but we think the victory will rest between the Liedertafel of Buffalo and the Saengerbund of Philadelphia.  Both are equal in all points of excellence, excepting perhaps that the Buffalo Society displayed more delicate artistic perception of the finer shades of tone-coloring.  The music they sang was of a simple character, while that of the Philadelphians was ambitious in its difficulties.  The singing of both was equal in excellence and with us the decision would rest in favor of Philadelphia, judging by this single learning, which is hardly fair, because of the higher character of the music performed.

     In every way it was a delightful concert, and the public of New-York is indebted to the enthusiastic amateur German musicians for a rare enjoyment which we shall not soon forget.  May these societies prosper and may they spread far and wide over our land, bearing with them the spirit of harmony, peace, friendship and good-fellowship!

     After the concert, the Liederkranz took their guests to their hall, where a ‘Commers,’ consisting of singing, smoking and drinking was arranged and kept up all night.

     To-day there will be the grand procession and picnic at Jones’s Wood, which is to wind up with a large display of fireworks from Blackwell’s Island.  This is the greatest feature of the entire Festival and will no doubt be participated in by over 50,000 people.”

The Prize Concert – While it is be exciting to experience a chorus competition, it was challenging for the audience to listen to 14 chorus pieces in the row in addition to several requested repeats yesterday. The encore calls were avoided in the first two concerts which we believe was favorable. However, yesterday this old habit was revisited which prolonged the event significantly. We also believe that applause in-between the performances of the choruses should be held back to not influence the jurors. This is also the reason why we will not evaluate the performances of the competitors at this point.