Maria Brainerd Annual Concert

Lists performers and some of the program.

     Lists performers and some of the program. “The whole programme is novel and most excellent. We hope to see Irving Hall crowded this evening, to do honor to the merits of so worthy an artist.”

     The grand piano from the New York Pianoforte Company was played for the first time.

 (…) Another American pianist, Mr. Pattison, has much less talent, however, he has learned more (compared to Harry Sanderson). He has the hardest touch of the keyboard (depression of the keys) we have ever heard and his playing is lacking any sensitivity and creativity. We pity the instrument (a fine grand-piano of the New York Pianoforte-Company) on which the “piano hero” was performing.

     “Miss. Brainerd’s annual concert at Irving Hall, on Friday last, was well attended, and passed off slowly but satisfactorily. Conductors should not allow the audience to lose patience, but should give the pieces in rapid succession so that the attention may not be relaxed. The principal morceau was Mendelssohn’s ‘Hear my Prayer’—soprano solo, with chorus—which was effectively rendered by Miss Brainerd and ‘a select chorus of ladies and gentleman,’ [sic] selected, we should suppose, for their extreme mildness. Miss Brainerd possesses a beautiful soprano voice, a good method, and a soft and pleasing style. These characteristics should have given her a better position in the world of art than the one she now occupies, although we are aware that that is in some respects most enviable. She sang the hymn with intelligence, but without the slightest degree of animation. The same remark applies to Gounod’s beautiful barcarole, and to Claribel’s song, ‘My Hear is Over the Sea.’ Indeed, this lack of animation is a noticeable defect, and one which we fear grows upon the lady. The [illeg.] of sweet sounds soon wearies the listener. The artist’s first effort should be to establish an electrical sympathy between herself and the audience. This cannot be done drowsily. It requires all the skill and all the earnestness of the best singer. Miss Brainerd was efficiently supported by Mr. George Simpson, Mr. Lumbard (a gentleman with a noble bass voice), Mr. Theodore Thomas and Mr. J. N. Pattison. The gentleman last named was not fortunate in his selection of a piano. The instrument he played upon was deficient in all the characteristics of a concert grand.”

     “The annual concert benefit of Miss Maria Brainerd, at Irving Hall, was fully attended.

     Miss Brainerd was, of course, the star of the evening, and fully deserved that distinction. She sang several pieces, among the most successful of which was Arditi’s waltz, which she sang with free and brilliant execution; Claribel’s song, ‘My heart is o’er the Sea,’ which was most rapturously applauded, and Gounod’s barcarole, with violin obligato by Theodore Thomas. These were all sung with much grace, spirit and effect. Beethoven’s quartette from Fidelio was admirably sung by Miss Brainerd, Miss Meyer, Mr. Simpson and Mr. Lumbard. It was one of the gems of the programme. Miss Brainerd was less successful in Mendelssohn’s lovely solo and chorus, ‘Hear my prayer.’ It lacked breadth in the rendering, and earnestness of passion, and she glided up to, rather than attacked the intervals, which detracted from the vigorous declamation of the composition. Still her efforts during the evening elicited the warmest marks of admiration and sustained her reputation as an accomplished and excellent artist.

     Next to Miss Brainerd, Mr. Lumbard made the most marked sensation. His voice is a basso-profundo of magnificent proportions, possessing a sonority which is really remarkable. His singing of Schubert’s Wanderer, and the ‘Infelice’ from Ernani, was so replete with expression, and exhibited a voice so rich, round, grave and beautiful in its quality that it fairly took the audience by storm, and gained a tumult of applause, both genuine and enthusiastic. He will prove a most welcome addition to our somewhat limited force of concert singers.

     Mr. Simpson was not in very good voice, but he made a sensation in Balfe’s song, ‘Come into the Garden, Maud,’ which he sung very charmingly.

     Mr. Thomas played Spohr’s Adagio carelessly and coldly, but he warmed up in Ernst’s Theme and Variations, playing with precision, brilliancy and expression, and with a richer tone and more certain intonation.

     M. J. N. Pattison played two effective solo pieces of his own composition, one his new Fantasia on Themes from Faust, of which we shall speak hereafter, and his Variations on a Russian Air. His execution was brilliant, lightly and rapidly manipulated, well articulated and precise, and exhibited a just attention to color. We noted, however, a too great tendency to exaggerate, especially in passages of power—a fault which is apt to grow upon a player unconsciously, until it becomes a fault both in taste and style. Mr. Pattison’s efforts were very warmly recognized.”