George W. Morgan Annual Concert

Event Information

Venue(s):
Irving Hall

Event Type:
Chamber (includes Solo)

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
20 April 2013

Performance Date(s) and Time(s)

12 May 1866, Evening

Program Details

Marie Abbott (scheduled, but took ill and cancelled)

Performers and/or Works Performed

4)
Composer(s): Costa
5)
aka Tennyson's bugle song
Composer(s): Goldbeck
Text Author: Tennyson
6)
Composer(s): Clapisson

Citations

1)
Announcement: New York Post, 11 May 1866.
2)
Advertisement: New York Herald, 11 May 1866.
3)
Announcement: New-York Times, 12 May 1866, 4.
4)
Review: New-York Daily Tribune, 14 May 1866, 8.

“ANNUAL CONCERT OF GEORGE W. MORGAN.

    The concert took place at Irving Hall last Saturday evening. The attendance was not as large as we expected, but it was highly appreciative, and sufficiently numerous to be remunerative. The Fantasie in [sic] Meyerbeer’s Huguenots was brilliant in execution, and was distinguished by the most charming variety in combinations. All the effects were well calculated, and the best solo points and the full power of the organ were artistically developed. This was enthusiastically encored, and in response he performed, in a most brilliant and effective manner, the variations in [sic] ‘God Save the Queen,’ in which his feet vied with his hands in clear and rapid manipulations. His other selections were executed in the same masterly manner.

    Miss Nettie Sterling has naturally a most splendid vocal organ, but we are by no means satisfied with the method of its production, nor with the style of her training. Her voice, instead of being produced naturally and without effort, is forced and strained, and its rich, unctuous quality partially obscured. Her style, though pretentious, is by no means formed, her studies in Italian style have evidently been forced, and the shallowness of the teaching is betrayed by the absence of those countless graces of finish, in which no well trained artist is ever deficient. This forcing system of vocal education, namely, the proper formation of the voice, and that instruction which enables the singer to acquire a knowledge of the use, and a perfect control of all the resources of the various registers of the voice, to produce contrasted effects, to endure any amount of fatigue, and to manage it under distressing circumstances of sickness or partial cold. A certain class of brilliancy is imparted together with a superficial execution and a false, exaggerated emphasis; but these are surface qualities, that may give a momentary reputation, but cannot stand the test of repeated hearing, or discriminating criticism.
    
    Miss Kate McDonald, whose debut we noticed a few days since, is on all points the best instructed novice who has appeared for years. She has learned to mange her voice, to conceal its weaknesses, to develop its strong points, and to manage it so as to meet all emergencies. She has been thoroughly grounded, and her future of success depends solely upon her own efforts, which, if directed by a conscientious desire to excel, will open her any position which the character of her voice will admit of.

    We by no means wish to depreciate the accomplishments of Miss Sterling. She has profited by her education to a certain extent, but her fine gifts of nature and her strong musical instinct have insured her the success she has met with. Had she been less taught, she would have achieved as much; had she been better taught, she would have been able to maintain an elevated position. In her ballad singing nature tells, and the crudities of her Italian style disappear, the pure tones of her voice are heard, and in these there is a charm which every one acknowledges. There is the making of a fine artist in Miss Sterling, but while she is able in ballads and in concerted music to hold her place, she must study more and differently before she can successfully interpret the higher class of vocal music in the concert-room.
 
    The War Song, from Eli, is too arduous an undertaking for Mr. Castle.  It strains his voice until it wavers and trembles to the point of breaking, and affords another instance of a want of the knowledge of how to produce and carry the voice. What a striking contrast the singing of Mr. J. R. Thomas presents. Every note in his voice is truly and beautifully produced. Ease, certainty and perfection of instruction prove the thoroughness of his teaching and his method. His singing of Clappison’s beautiful song on this occasion was as fine a specimen of pure vocalization, united with just and passionate expression, as can be heard in the concert-room.

    Mr. Campbell sang very effectively a fine dramatic song by Mr. Robert Goldbeck, one of his ‘Love Songs,’ we believe, to Tennyson’s words, ‘Blow, bugle blow.’ It was a marked success. Mr. Goldbeck is more fortunate as a composer than as a solo pianist.  With abundance of execution he fails to interpret his thoughts clearly.  His manner is too hurried and nervous, and in his excitement he is apt to strike notes, especially with his left hand, which are not written down.

    Miss Marie Abbott was too ill to appear. Mr. George Simpson, though suffering from a severe cold, honored the announcement of his name, and sang in a most charming and graceful manner the music allotted him.

    One word about extemporaneous organ performance. The first thing necessary is to have an idea, the second to have the ability to work it out. These conditions not fulfilled, extra trumpery would be the right title of the performance. ”