Liederkranz Musical Evening Entertainment: 5th

Event Information

Venue(s):
Liederkranz Hall

Conductor(s):
Agricol Paur

Event Type:
Choral

Performance Forces:
Instrumental

Record Information

Status:
Published

Last Updated:
2 January 2016

Performance Date(s) and Time(s)

14 Apr 1867, 8:00 PM

Program Details

Friends are not admitted. NYSZ also mentions a quadrille played by the orchestra.

Performers and/or Works Performed

3)
aka Traum; Morceau de salon, op. 13; Pieces de salon, op. 13
Composer(s): Goltermann
Participants:  Rudolf Hennig [cellist]
4)
aka Warrior's Prayer; Kreigers Gebet
Composer(s): Lachner
Text Author: von Osten
Participants:  Deutscher Liederkranz
5)
aka Reminiscences of Rigoletto; Fantasia Rigoletto; Rigoletto fantasie
Composer(s): Liszt
Participants:  J. A. Dawson
6)
aka march from Mazeppa; Grand maarch
Composer(s): Liszt
7)
aka Elf-King’s daughter; Erlkönigs Tochter; Nachtgesang aus Erlkönigs Tochter
Composer(s): Gade

Citations

1)
Announcement: New-Yorker Staats-Zeitung und Herold, 13 April 1867, 6.
2)
Advertisement: New-Yorker Staats-Zeitung und Herold, 14 April 1867.
3)
Review: New York Herald, 15 April 1867, 6.

“The fifth and last concert of the Liederkranz Society took place last night, under the direction of the excellent president, William Steinway, at the hall in Fourth street. Mr. Dawson, pianist, Mr. Rudolph Hennig, violoncellist, and the Leiderkranz [sic] chorus and amateur orchestra were on hand and contributed to the success of the concert. Gade’s interminable, stupid idea of the ‘Erl King’ was sung by the mixed chorus of the society and was very tiresome and uninteresting.”

4)
Review: New-Yorker Staats-Zeitung und Herold, 15 April 1867, 8.

(…) The performance of an amateur orchestra can certainly not be compared to a professional one, thus we have to recognize the good intention and honest efforts of the amateur musicians. The “Nachtlager” overture was played the best. In the other pieces, the “noisy” instruments such as big drums and cymbals often overpowered the others in a disturbing fashion. Hennig’s performance was appreciated and applauded well by the rather large audience.

The young and confident pianist Dawson overestimated his skills when choosing the Rigoletto fantasy. He could only give some parts of the composition justice. The well-done performance of “Kriegers Gebet” by the Liederkranz men’s chorus was influenced negatively by the orchestra’s “indiscreet” performance.

Gade’s “Erlkönigs Tochter” is not well-known here. It is characterized by a beautiful melodic flow for the individual and choral voices. It also offers a vast number of interesting sections; however, it also has its monotone and dry parts. The solos were performed satisfactorily, and the chorus parts were excellent except for a few insecurities.

5)
Review: New-Yorker Musik-Zeitung, 20 April 1867, 585.

(…) The orchestra consists mostly of members of the Liederkranz. Certainly one shall not compare the performance with professional orchestras; the effort of the members has to be acknowledged. The overture was done best. Dawson, a young American pianist, played Liszt’s phantasy with over-estimation of his skills. The men’s chorus sang Lachner’s “Gebet”, which lost some of its effects due to the “indiscreet” and insecure orchestra accompaniment.

Gade’s cantata is composed in the style of Mendelssohn. Although there were not enough rehearsals with all participants for this work, it was still performed satisfactorily, and the beauty of it was conveyed well. The solos performed by Haag, Brickel and Steins, were done well enough. Rembach accompanied on the grand piano.