Sacred Concert on Odell’s New Organ: 3rd

Event Information

Irving Hall

Manager / Director:
Lafayette F. Harrison

George W. Colby

Price: $.50; $1 reserved

Performance Forces:
Instrumental, Vocal

Record Information


Last Updated:
14 April 2013

Performance Date(s) and Time(s)

29 Apr 1866, Evening

Program Details

The Bach toccata performed by Morgan is unidentified in citations, but was probably the Toccata and Fugue in F, BWV 540, which he performed at the second concert in this series, 04/22/66.

Performers and/or Works Performed

aka grand trio
Composer(s): Rossini
Composer(s): Gounod
aka Fall of Zion
Composer(s): Paisiello
Participants:  Jules G. Lumbard
Composer(s): Rossini
Participants:  William Castle
aka Jewish maiden
Composer(s): Kücken
Participants:  Sherwood C. Campbell
Composer(s): Donizetti
Participants:  George Washbourne Morgan


Announcement: New York Post, 28 April 1866.
Announcement: New-York Times, 29 April 1866, 4.
Advertisement: New-York Times, 29 April 1866, 7.
Advertisement: New York Herald, 29 April 1866.
Review: New-York Daily Tribune, 01 May 1866.

     “The third Organ Concert at Irving Hall attracted an overflowing audience on Sunday evening last, and was in every way a great success. These concerts are gaining rapidly in public estimation, and promise to become a regular and recognized institution. The performing artists were Mrs. Marie Abbott, Mr. W. Castle, Mr. S. C. Castle [sic] Mr. Jules Lumbard and Mr. Geo. W. Morgan, with Mr. G. W. Colby as conductor.

     Mrs. Marie Abbott, generally a very reliable singer, was on this occasion out of voice, and was not, consequently, as successful as usual, although her good training enabled her to make her efforts acceptable, both in her solos and the concerted music. The same cause, probably the fickle, fitful weather, rendered Mr. Castle’s voice somewhat uncertain, but he rallied well and delivered the Cujus Animum to the satisfaction of all.

     Mr. Campbell was in first-rate voice—basses are tougher than tenors—and sang with great spirit and most excellent taste. Mr. Campbell has presented marked evidence of improvements in every respect during the past few months. Mr. Jules Lumbard’s noble bass voice acknowledged, in some measure, the influence of the changeableness of the weather—we retract what we said about the toughness of basses—to this degree, no more, that he was compelled to decline the hearty encore rendered to him for his singing of the ‘Fall of Zion.’ In the trio from William Tell, his voice seemed to recover its full vigor, and rolled out so glorious a volume [illeg.] that its praise was on every one’s tongue. It is rare that three such fine male singers are heard at one concert, and those who do not hear them lose a most enjoyable performance.

     Mr. George W. Morgan, not being subject to thermometrical influences, played splendidly. He treats the not very large organ with as much deference as though it were double the size, and makes it speak better things for itself than any other man in America can do. His selections were in excellent taste, hitting that happy medium between the recondite and the familiar. Luckily for him, he is so perfect a master that all his selections suit him, so that he is never heard to a disadvantage. He was, as usual, vehemently applauded and encored. The concert, altogether, was delightful.”

Review: New York Herald, 01 May 1866, 5.

     “Every Sunday evening since these popular entertainments commenced this hall has been crowded to excess. The selection of artists and pieces so far has been unexceptionable. On last Sunday evening Mrs. Marie Abbott, the distinguished soprano, sang an exquisite air by Gounod, with organ and piano accompaniment. The duet, ‘When I know thou art near me,’ by Franz Abt, was acceptably rendered by her and Mr. S.C. Campbell. Mr. Jules Lumbard sang Paisiello’s ‘Fall of Zion.’ This gentleman possesses a bass voice which with careful training and practice might rank with that of Lablache or Formes. His rendering of the ‘Fall of Zion’ brought out the latent powers of his voice in the fullest manner. The Cujus Animam, from Rossini’s Stabat Mater, was a trying test for Mr. Castle, but he went through it pretty fairly. The other noticeable pieces sung were Mr. Campbell’s ‘Jewish Maiden,’ one of Kücken’s best compositions, and a male trio by Rossini. Mr. Morgan, as usual, drew on Bach, Donizetti and other great masters for his organ selections. The grand toccata of the former composer is Mr. Morgan’s piece de resistance, and displays his peculiar style more forcibly than even his fantasias and overtures.”