Sunday Evening Concert: 22nd

Event Information

Venue(s):
Steinway Hall

Manager / Director:
Lafayette F. Harrison

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

Price: $1 reserved

Event Type:
Orchestral

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
16 January 2018

Performance Date(s) and Time(s)

27 Jan 1867, Evening

Program Details

This concert seemingly marks the end of the collaboration between Harrison and the Bateman Concert Troupe. Their association began with the eleventh concert of the series. The New York Times review for this event also notes that Euphrosyne Parepa and Carl Rosa, previously with Bateman and recently married, are now exclusively under Harrison's management.

Parepa sang "Birds that came in springtime" as an encore.

Program also included unidentified works by Vieuxtemps, Ernst, Beethoven, Lobe, and Raff.

Performers and/or Works Performed

2)
aka Bride of Messina
Composer(s): Schumann
Participants:  Thomas Orchestra
3)
aka Hear Ye, Israel; Hear What The Lord Speaketh; Elias
Composer(s): Mendelssohn-Bartholdy
Text Author: Schubring
Participants:  Euphrosyne Parepa
4)
Composer(s): Handel
Participants:  Euphrosyne Parepa
5)
aka Bird that comes to me in spring; Bird that came in spring
Composer(s): Benedict
Participants:  Euphrosyne Parepa
6)
Composer(s): Chopin
Participants:  Sebastian Bach Mills

Citations

1)
Advertisement: New-York Times, 26 January 1867.
2)
Advertisement: New York Herald, 27 January 1867.
3)
Review: New York Herald, 28 January 1867, 4.

“Never before since the opening of Steinway Hall was such an audience congregated as at the twenty-second Sunday Concert last night. The smaller matinee hall had to be thrown open to accommodate the crowds that poured in from an early hour, and at the opening overture—Schumann’s Bride of Messini [sic]—there were nearly thirty-two hundred people assembled in the spacious metropolitan hall. The programme comprised selections from Beethoven, Schumann, Ernst, Mendelssohn, Chopin, Lobe, Vieuxtemps, Handel, Wollenhaupt and Raff, and was rendered by the principal artists of the former Bateman troupe. ‘Hear ye, Israel’ was splendidly sung, and the encores were frequent during the concert. Mr. Harrison’s enterprise in giving first class concerts has so far been singularly successful.”

4)
Review: New York Sun, 28 January 1867, 4.

“Mr. Harrison gave his twenty-second Sunday concert at Steinway Hall, last evening to a large and Christianly audience. The pieces performed were mostly of a sacred character, and Madame Parepa’s two numbers were inspiring to say the least. There were four numbers for the orchestra, which being led by Mr. Theodore Thomas, was in spirit and accord. Mr. Carl Rosa performed two solos on the violin in his usual differential manner, and Mr. S. B. Mills made the piano eloquent. These concerts appear to be a godsend to a vast number of people, who having no theatres to visit were previously at a loss where they spend their Sunday evenings. Mr. Harrison has opened a wide gate for them, and they rush to the enjoyment he offers. Madame Parepa and Mr. Carl Rosa, who appear at these concerts, have been recently married. They are engaged by Mr. Harrison for a long series of musical Lenten-entertainments.”

5)
Review: New-York Times, 28 January 1867, 5.

“Mr. Harrison's twenty-second Sunday concert took place last evening at Steinway Hall. The largest attendance which has yet been gathered within the spacious walls of that establishment was present on the occasion—upward of three thousand persons being there. The extension room—used for piano recitals, &c.—had to be thrown open, so that there was a mass of humanity extending clear through from Fourteenth to Fifteenth-street. The occasion was the rentrée of Mme. Parepa, who has now fallen under the spirited and sole management of Mr. L. F. Harrison, who not only is the cause of people becoming famous, but inherits the fame of others, as in the case of Mme. Ristori and now of Mme. Parepa. This charming singer and great artiste has never been heard to better advantage than she was last night. In the grand aria from ‘Elijah,’ Hear ye Israel, the purity, power and precision of her voice were superbly demonstrated. In oratorio-music it is not merely quantity, but quality of voice that is required. There has never been an artist in America that has supplied this more abundantly. The precise coloring of the composition is presented by Mme. Parepa, simply but powerfully, and without the faintest appearance of effort. In an executive point of view, she is, of course, equal to anything. We are glad that Mr. Harrison intends to give the lady a chance of displaying her wonderful mastery of schools and manners, of permitting her, indeed, to sing pieces worthy of her extraordinary powers. The song from ‘Judas Maccabeus’ was rendered as faultlessly as the one from ‘Elijah,’ with distinct enunciation of the words and absolute musical effect. In response to an overwhelming encore, Mme. Parepa substituted a charming ballad by Benedict, called the ‘Bird that Comes to Me in Spring.’ The intelligent fowl could not have found a more delightful historienne. Mr. S. B. Mills played Chopin's ‘Berceuse’ delightfully. In the second part, he gave us an effective and brilliant arrangement of the ‘Spinning Song,’ from Wagner's opera of the ‘Flying Dutchman.’ The transcription is by Mr. Wollenhaupt—one of the latest of that lamented composer’s productions. Mr. Mills’ performance of this and the other pieces was simply perfect. In clear articulation of the fingers, in beauty of touch, and in the absolute certainty of execution, there is no pianist now before the public who can compare with Mr. Mills. Mr. Carl Rosa played a couple of solos with his accustomed fineness and delicacy. The orchestra, under Mr. Theodore Thomas, was excellent, and played four unhackneyed pieces. The programme last night was in every way fresh, and gave abundant satisfaction to the audience.”

6)
Announcement: Dwight's Journal of Music, 02 February 1867, 392.
7)
Review: New-Yorker Musik-Zeitung, 02 February 1867, 410.

“…The event was so over-crowded that the door of the hall had to be kept open. One can consider this success as a sign that the time of the audience’s indifference to concerts has ended.”