Mollenhauer Conservatory Matinee: 1st

Event Information

Venue(s):
Mollenhauer Conservatory [until 6/67]

Event Type:
Chamber (includes Solo)

Record Information

Status:
Published

Last Updated:
6 August 2016

Performance Date(s) and Time(s)

26 Sep 1866, 2:00 PM

Performers and/or Works Performed

5)
aka Ave Maria; Ellens dritter Gesang; Hymne an die Jungfrau; Serenade
Composer(s): Schubert
Text Author: Scott
6)
aka Spring sonata
Composer(s): Beethoven
7)
Composer(s): Mollenhauer [viola-vn]
9)
aka Trio, op. 99, B-flat major
Composer(s): Schubert

Citations

1)
Advertisement: New-York Times, 19 September 1866, 7.
2)
Advertisement: New York Herald, 21 September 1866.
3)
Article: New-Yorker Musik-Zeitung, 26 September 1866, 121.
4)
Announcement: New York Herald, 26 September 1866, 7.

“We are informed that only pupils of the conservatory and persons specially invited, will have access to the matinees at this hall.”

5)
Announcement: New-Yorker Staats-Zeitung und Herold, 26 September 1866, 8.
6)
Announcement: New York Clipper, 29 September 1866, 198.
7)
Advertisement: New York Clipper, 29 September 1866, 199.
8)
Review: New York Herald, 29 September 1866, 10.

“The handsome and elegantly fitted-up hall of the Musical Conservatory of Mr. Edward Mollenhauer, in Schuberth’s building, on Broadway, was crowded on Wednesday afternoon, on occasion of the first classical matinée of the season. Edward, Henry and Bernard Mollenhauer and Emil Gramm played the beautiful quartet of Beethoven, opus 18 in A major in splendid style. Mr. Edward Mollenhauer played a chaconne for the violin, by J. S. Bach, the execution of which entitles him to the very first place among the violinists of America. Bach’s style is so broad and large that even in a solo there is massiveness and harmony such as no other composer would attempt, and in every work he has but one sole idea which permeates it from beginning to end. From the first measure to the closing chords there is a perpetual development of this one idea, and a continuous theme without rest until the end. The chords in the chaconne (a little simple melody) present extraordinary difficulties for the performer. In many parts the four strings are brought simultaneously to play. That Mr. Mollenhauer succeeded in such a remarkable piece, is a sufficient guarantee of his powers as a great artiste. Mr. Henry Mollenhauer, one of our best violoncellists, played an Ave Maria, by Franz Schubert, with exquisite taste and feeling. The effect of this charming melody was sadly marred by the piano accompaniment. The piano, a Leipsic instrument, seemed to have no strings, for the hammers had the same effect as if they struck the sound board, or any other piece of wood, instead of the strings. If that is a sample of the only kind of European piano that we can get over here at present, then for the sake of art let us have American instruments instead. Miss Pauline Goodhim and Bernard Mollenhauer played a sonata (opus 24), by Beethoven, in excellent style. The lady, a pupil of the Conservatory, deserves much praise for the correctness of her execution. Further than that, with such a piano, she could not be expected to do. The best of the entire programme was a trio in B flat for piano, violin and cello by Schubert. It was played by Messrs J. N. Pattison, Edward and Henry Mollenhauer. The third part—scherzo—presents immense difficulties to the pianist. Mr. Pattison, who has recently returned from Europe, and has also recovered from a severe fit of sickness, did full justice to this brilliant gem of Schubert. That he could make anything out of it with such a miserable instrument as the Leipsic one is a success such as none but a first class artiste could accomplish. The matinée was a complete triumph in a musical point of view.”

9)
Review: New-York Daily Tribune, 03 October 1866.

“Mr. Mollenhauer has inaugurated a series of musical matinées for the benefit of the students of his Conservatory, which are intended to instruct and elevate their taste for the highest class of music. The first was given in the midst of a pelting storm, but the attendance, nevertheless, was quite large. The programme consisted of Beethoven’s quartette in A major, for two violins, viola, and violoncello, which was well performed by Messrs. Ed. and Henry Mollenhauer, Master Bernand [sic] and H. Gramm. There was an evidence of the need of constant practice together, but the work in some respects was ably executed. Bach’s ‘Chaconne’ for the violin was finely performed by Mr. Ed. Mollenhauer. His tone was firm and pure, and his execution was clear and decided, being almost entirely free from the glissando which is inadmissible in such compositions. It was an excellent performance. Mr. Henry Mollenhauer in his violoncello solo, surpassed any of his public efforts that we remember. His execution was clear and admirably marked, and he displayed an amount of pathos and sentiment but rarely heard. Mr. Henry Mollenhauer is a first-class artist, and should be oftener heard in our concert rooms.

The pupils of the Conservatory who appeared on this occasion, though extremely nervous and excited, gave evidence of good instruction. The young lady displayed ability, and the young violinist has evidently fair mastery of the instrument, although his playing on this occasion was very much below his general standard.

The marked success of the program was, however, Schubert’s trio in B flat, for piano, violin and violoncello, executed by Mr. J. N. Pattison and Ed. and Henry Mollenhauer. The trio is difficult, both in execution and interpretation, but it was rendered by these artists in a masterly manner, and we have never heard in this city a better piece of concerted anything. Mr. J. N. Pattison especially distinguished himself. Although called upon to play at very short notice, he had thoroughly mastered both the technical difficulties and the sentiment of the work. His execution was firm, brilliant and pointed; his phrasing was admirable, every passage being clearly and understandingly brought out, and he threw into the work fine feeling, evidently the result of thorough appreciation and intelligent study. He played upon a very ineffective German instrument, deficient in the necessary qualities of touch and tone for concert purposes; but his mastery of technique overcame these difficulties. His performance was the cordial admiration of all the professors and critics present. These Conservatory Concerts are calculated to do good service in advancing the taste of students in music.”

10)
Announcement: Dwight's Journal of Music, 13 October 1866, 328.