Bateman and Harrison Wednesday Popular Concert: 14th

Event Information

Venue(s):
Steinway Hall

Manager / Director:
Lafayette F. Harrison

Conductor(s):
Theodore Thomas [see also Thomas Orchestra]

Event Type:
Orchestral

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
8 January 2018

Performance Date(s) and Time(s)

06 Feb 1867, 8:00 PM

Program Details

Some of the citations record this as the thirteenth concert in the series; owing to an issue with scheduling on Mondays and Wednesdays, Music in Gotham counts this as the fourteenth. For an explanation of this discrepancy, see the program details of Bateman and Harrison Wednesday Popular Concert: 1st on 11/12/66.

Bateman did not manage this concert; for an explanation of why the event title includes his name, see the program details of Bateman and Harrison Wednesday Popular Concert: 13th on 1/30/67.

Performers and/or Works Performed

2)
Composer(s): Wallace
5)
Composer(s): Bott
Participants:  Carl Rosa
6)
Composer(s): Rosa
Participants:  Carl Rosa
7)
Composer(s): Wallace
Participants:  Sebastian Bach Mills
8)
Composer(s): Mills
Participants:  Sebastian Bach Mills

Citations

1)
Announcement: New-York Times, 04 February 1867.

Part of review of Parepa performances. "We notice, by the way, that Mr. Harrison intends giving, on Wednesday evening next, a 'Wallace Night'--when the programme will be made up mainly of compositions by the late Mr. W. V. Wallace--the composer of 'Maritana,' (which is to be produced in Paris during the present season,) 'Lurline,' the 'Amber Witch,' &c. The works of this gentleman are justly esteemed by the community, and Mr. Harrison has, we are sure, anticipated a public wish in eprsenting them thus conspicuously at one of his fine entertainments."

2)
Advertisement: New York Herald, 05 February 1867, 1.
3)
Advertisement: New-York Times, 06 February 1867, 7.
4)
Review: New York Herald, 07 February 1867, 7.

“The thirteenth [sic] of the Wednesday popular concerts now being given at Steinway Hall, under the directorship of Mr. L.F. Harrison, took place last night. A crowded and most appreciative audience was present. It was the ‘Wallace night’ of the series, the bulk of the programme being made up of selections from the works of the late William Vincent Wallace. The vocal selections were the grand scena Sad is my Soul, from Lurline; the ballad When the Elves at Dawn do Pass, from the Amber Witch, and the aria Scenes that are Brightest, from Maritana, all of which were well rendered and loudly encored. Carl Rosa performed an andante religioso movement by Bott, and a fantasia on The Last Rose of Summer, in each of which he drew forth the unbounded applause of his auditory. Mr. S. B. Mills received a decided manifestation of approval for his admirable rendering on the piano of a fantasia by Wallace, and an artist’s composition of his own entitle Recollections of Home.”

5)
Review: New-York Times, 07 February 1867, 4.

"It seems to be reserved for Mr. L. F. Harrison to do everything that is decent. He has been active in every kindly thing that has occurred during the past few years, and where the activity was not absolutely necessary, has been mindful of reputations and energetic in preserving them. Last evening he gave a Wallace night. Mr. W. V. Wallace is known to the readers of this paper. His career commenced many years ago, but it was one of success from first to last. There is hardly a performer on any instrument who is not indebted to him. His vast and wide range of musical--and other—knowledge enabled him to write variously for instruments and men. He is known to the community as the composer of the opera of ‘Maritana.’ The work is played everywhere. Its success has been world-wide. At this moment it is in preparation in Paris. But ‘Maritana’ does not represent Wallace. He has written—and he wrote them here—many works that are infinitely better. ‘Lurline’ is a romantic opera which has no equal on the stage; the ‘Amber Witch’ is a work of positive grandeur. We could, if it were desirable, mention two or three lighter works which would show the versatility of this singularly gifted man. As they are unknown to the public, it suffices to say that Mr. Harrison, recognizing the merits of the composer, has devoted a night to him. Mlle. Parepa sang superbly. The grand scena (given entire) from ‘Lurline,’ ‘Sad is my Soul,’ could not have been interpreted more perfectly. It is in such morceaux that we feel the dramatic intensity of the artiste—an intensity which is never blurred by incompetency. Mr. Mills played—as he always does—superbly, leaving nothing for the critic but the warmest word of praise. Mr. Carl Rosa was equally fortunate with the public, and of Mr. Theodore Thomas and his orchestra it is only necessary to say that they maintained their reputation. The concert, in every way, was delightful.”   

6)
Review: New-York Daily Tribune, 07 February 1867.

“Madame Parepa’s concert last night at Steinway’s, was be [sic] in musical memory of the late distinguished composer, William Vincent Wallace.  It was a compliment beside to his many friends and admirers in this city, where Wallace was once a resident.  The greater portion of the programme was made up of instrumental selections from his best works, and his latest and most brilliant opera, ‘Lurline,’ was well quoted.  Wallace, Irishman and cosmopolitan as he was, may also be regarded as American property, one of the few remarkable composers personally known to the childhood of American song. It is good that he should be remembered along with those who have aided a native appreciation and culture, and as one of the most gifted, certainly the most melodious of modern English composers. Our concert managers may take a hint from the late memorial of Wallace, and one of these days render the same tasteful justice to the genius of an American composer, who with his versatile powers did so much in his time for music’s sake.  We refer, of course, to the late William Henry Fry, not less eminent as journalist than as composer--who wrote operas much in advance of his native contemporaries, and when to write them was a task of pioneer daring.  They were not successful, as, indeed, few new operas are; but they have high merits, and it would be difficult to select from them passages worthy of recall to the many who admired his efforts as critic and composer.”

Further in the same column: “During the ‘Wallace Night’ at Steinway’s selections from ‘Maritana,’ ‘The Amber Witch,’ and fantasias for the violin and piano by Wallace, Madame Parepa’s share of the selections was liberal, and those to whom Wallace’s genius was but vaguely known had a chance of understanding and enjoying him. Carl Rosa repeated Bott’s Religious Adagio, which on Sunday night was so successful. It is one of his very best pieces, and at its late hearing was given with remarkable grace, tenderness, and power.” 

7)
Review: Dwight's Journal of Music, 16 February 1867, 400.

“The Parepa concerts, under Mr. Harrison’s management seem to be very successful. We read of audiences of from 2,000 to 3,500 persons. A ‘Wallace night’ was the feature of last week, when the programme was wholly made up from that lamented composer’s works. A Mendelssohn and a Mozart night, a Beethoven and a Weber night, are expected to follow.”