Carnegie Hall (January 8, 1897)
Description
She performed on a Knabe piano. The rehearsal began at 2 pm. Reserved seats were priced between $0.75 and $2.00; cost of boxes was $12; general admission was $1.00.
Source
Announcement: New York Times, 2 January 1897, 11.
Advertisement: New-York Tribune, 3 January 1897, 5.
Review: New York Times, 9 January 1897, 5.
Review: Hartford Courant, 9 January 1897, 2.
Review: The Sun, 9 January 1897, 3.
Concert Program: US-NYcha
Contributor
Transcription
New York Times, January 2, 1897.
The third public rehearsal of the Philharmonic Society will take place on Friday afternoon at Carnegie Hall, and the concert on Saturday evening. The programme will consists of Goldmark's "Prometheus Bound" overture, Rubinstein's D minor piano concerto, and Tschaikowsky's sixth symphony. Mme. Teresa Carreno will be the pianist.
New York Times, January 9, 1897.
Music Lovers Pleased.
The Afternoon Concert Of The Philharmonic Society. Teresa Carreno, the Famous Pianist, Reappeared—Anton Seidl Conducted the Tschaikowsky Sixth Symphony. The January concerts of the Philharmonic Society will probably dwell long in the memories of local music lovers, because of the beauty of the programme and the enthusiasm with which it was performed. The afternoon concert took place yesterday, and was attended by an audience which quite filled Carnegie Hall. Somewhat cool, as matinée audiences generally are, at the outset, it warmed to hearty demonstrations of delight before the concert was at an end. The programme was in itself sufficient to give no little pleasure to lovers of compact and symmetrical concert lists. It consisted of Goldmark's "Prometheus Bound" overture, Rubinstein's D minor piano concerto, and Tschaikowsky's sixth symphony. There are three numbers representative of the finest thought of the modern romanticists, numbers that will bear frequent repetition, and are admitted to be promising candidates for that extent of musical longevity frequently described as immortality. The inevitable elements of personal interest were contributed to the concert by Anton Seidl, who conducted the Tschaikowsky work for the first time here, and the famous pianist, Teresa Carreno, who returned to us after a literally triumphal tour in Germany. [new para] Mme. Carreno's performance of the Rubinstein concerto proved that the unbridled enthusiasm of the German press was far from being unmerited. The pianist has advanced to the front rank, where, if yesterday's work was not exceptional, she must claim a commanding position. Her performance revealed a most excellent development of her technic, which is now far smoother and more certain than it used to be. Her tone is masculine in its breadth and power. Her dynamic range extends from a pianissimo, which is unaffected in that it does not try to be a whisper, to a thundering fortissimo and her palette of color is full of exquisite tints. If her tone yesterday was a trifle hard and short in the cantabile passages, it was because of circumstances beyond her control. Her style is authoritative, dashing, brilliant, yet not without those points of fine repose without which there is no symmetry. Her rhythm is beautiful, and her tempo rubato judicious. She played the big chord passages yesterday with enormous power, while the runs and octaves were treated with beautiful clearness and when necessary with delicious delicacy. Her reading of the work was intensely dramatic. It was less dreamy and restrained in the middle movement than some with which we are familiar, but it was even there strong and thoughtful. The first movement was played with enormous weight, and the stretto was positively exciting. The finale again gave free rein to the pianist's splendid temperament, which is now under the control of a trained will and the direction of a fine intelligence. On the whole, Mme. Carreno gave a notably strong performance of one of the most beautiful compositions for the piano. After several recalls she supplemented it with Chopin's "Berceuse," which she played with crystalline clearness and wooing tone.
Hartford Courant, January 9, 1897.
Teresa Carreno the piano virtuoso, made her first appearance to-day at the Philharmonic Concert, Carnegie Hall, under the baton of Anton Seidl. Her magnificent technique displayed to the highest degree the marvelous sonority of the Knabe piano, upon which she played, and she received one of the greatest ovations of the season.
The Sun, January 9, 1897.
The Philharmonic rehearsal to the third concert of this season was given yesterday afternoon in Carnegie Hall with the following programme: Overture—"Prometheus Bound," Goldmark. Concerto for piano, Rubinstein. Symphony—"Pathétique," Tschaikowsky… Mme. Carreno's reappearance has been looked forward to with much interest, as she has always held a high place in the regard and esteem of American audiences, and has been absent from us now for seven years. She mastered the colossal difficulties of the Rubinstein Concerto with a masculine vigor and an ease that showed plainly how faithful she has kept to the art in which she was, even as a child, proficient. The audiences received her warmly and applauded vociferously at the end of her piece, where she did some astonishingly good octave passages. <p>Mme. Carreno's interpretation was, above all things, dashing and fiery, impulsive and daring, rather than reflective or contemplative. It appears that there is no strain of morbidness in her nature, such as so often runs through the artistic temperament.</p> <p>However, no expression of sadness is needed in Rubinstein's glorious composition, nothing nearer grief than the tenderness required by that lovely singing melody of the slow movement. As encore Mme. Carreno played Chopin's "Berceuse," a very favorite thing for just such occasions and frequently played. The clear, pearly runs of her finger passages recall to mind Louis Moreau Gottschalk, who was one of Carreno's first teachers, and a marvellous instructor as well as a fascinating performer.
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