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In 1872, following his appearance at the World’s Peace Jubilee and International Music<br />
Festival in Boston, <strong>Johann</strong> <strong>Strauss</strong> gave three concerts in <strong>New</strong> <strong>York</strong>, on July 8, 10, and<br />
12, at the Academy <strong>of</strong> Music, an opera house located on Irving Place between East 14 th<br />
and 15 th Streets.<br />
Monday, July 8, 1872<br />
From The Sun, July 9, 1872, p. 1, col. 7<br />
Ebb Tide <strong>of</strong> the Jubilee<br />
First Appearance <strong>of</strong> the Musical Magician <strong>of</strong> Vienna<br />
The Great <strong>Strauss</strong> at the Academy—What He Looks Like—How He Leads an<br />
Orchestra—The Beautiful Blue Danube Enthusiasm<br />
The Academy was crowded last evening, on the occasion <strong>of</strong> <strong>Johann</strong> <strong>Strauss</strong>’s first<br />
appearance in this city as an orchestra leader. His reception was enthusiastic, and<br />
each <strong>of</strong> his spirit-stirring compositions was applauded to the echo. The occasion<br />
was in every respect a great success, and leader, orchestra, and audience parted in<br />
Compiled by the <strong>Johann</strong> <strong>Strauss</strong> <strong>Society</strong> <strong>of</strong> <strong>New</strong> <strong>York</strong>. All rights reserved.<br />
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mutual good humor. The concert opened with the familiar overture from “William<br />
Tell,” which was led by Mr. Carl Bergmann in his accustomed scholarly and artistic<br />
manner, and which was followed by a very fair rendition <strong>of</strong> the introduction and the<br />
third act <strong>of</strong> “Lohengrin,” led by the same gentleman. Although both pieces were<br />
applauded, t<strong>here</strong> seemed to be more or less impatience among the audience.<br />
When the lion-headed Vienna dance composer at last stepped upon the platform the<br />
repressed excitement burst forth, and the house shook with a storm <strong>of</strong> applause.<br />
<strong>Strauss</strong> seemed surprised and pleased at his reception, and bowed again and again,<br />
and a dozen times more before he could find opportunity to begin.<br />
As he stood t<strong>here</strong> before his immense audience, he seemed a quite, handsome,<br />
dark-haired, pale-faced little man, with a gentlemanly bearing and genteel figure;<br />
about his head, lion-like; about his body, a petit maitre <strong>of</strong> the Paris salon. He might<br />
be one <strong>of</strong> fifty quiet cavaliers that one may see in any ball room, for all the<br />
impression he seemed to make on his audience. But when his last graceful<br />
obeisance is made, he receives from his servant his violin and bow, gives a sweeping<br />
glance around his orchestra, raises his arm horizontally as high as his head, and<br />
stands ready for the first bar. Now he has become transformed. He is no longer the<br />
dandy, but the artist, and the commander <strong>of</strong> artists. His nervous figure begins to<br />
move; he quivers with a sudden electric vitality, as a racer does just before the start.<br />
Then t<strong>here</strong> is a mighty sweep <strong>of</strong> the violin bow, a stamp <strong>of</strong> the foot, and he plunges<br />
headlong into the excitement <strong>of</strong> the moment. On and on he carries musicians and<br />
audience, thrilling the most apathetic, arousing the dullest, and enchaining the<br />
attention <strong>of</strong> all. His performers, catching his meaning as if by intuition, watch every<br />
movement <strong>of</strong> his hand, every glance <strong>of</strong> his eye, and every changing expression <strong>of</strong><br />
face.<br />
Whether the passages are piano or forte, slow or fast, wild and weird, as in the<br />
Circassian March, voluptuous and languishing, as in the Blue Danube Waltz, or<br />
boisterous, as in his intoxicating galops, they seem compelled to obey his slightest<br />
wish, by the sheer force <strong>of</strong> his personal magnetism. Look through the audience,<br />
and one will notice a thousand heads swaying in unison with the music, and hear<br />
the light tapping <strong>of</strong> a thousand feet keeping time with the musicians.<br />
<strong>Strauss</strong> seems to forget that t<strong>here</strong> is a soul in the house except the sixty-three<br />
artists he is directing; oblivious to all else, he is alive to the progress <strong>of</strong> the piece.<br />
Now he shakes his shaggy, mane-like hair and buries his head in the violin case as<br />
though he wished to get into the very soul <strong>of</strong> music that dwells within the depths;<br />
now, like a flashing cimetar wielded by a Saladin, his bow sweeps in long curves<br />
about his head, or threshes in downward strokes, as though it were a whip with<br />
which he was striking a recumbent object. In another moment, raising both arms<br />
and flinging them about, he calls upon the reserved forces <strong>of</strong> his orchestra to come<br />
in and give effect to a fortissimo phrase. Throughout all, he stamps the measure <strong>of</strong><br />
time with first one foot and then the other, and, so to speak, handles his legs in<br />
such fashion as to make them twinkle a language <strong>of</strong> their own quite peculiar and<br />
Dickens-like.<br />
It is impossible to describe the personal appearance <strong>of</strong> <strong>Johann</strong> <strong>Strauss</strong> in a manner<br />
at all satisfactory; he must be seen to be appreciated. T<strong>here</strong> is something wild,<br />
goblin-like, almost maniacal, we might say, about the man when under the<br />
inspiration <strong>of</strong> music, and he sets at utter defiance all our notions <strong>of</strong> leaderlike<br />
Compiled by the <strong>Johann</strong> <strong>Strauss</strong> <strong>Society</strong> <strong>of</strong> <strong>New</strong> <strong>York</strong>. All rights reserved.<br />
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dignity, founded upon such models as the classical Bergmann and the cold and<br />
passionless Thomas.<br />
Mr. <strong>Strauss</strong> is the author <strong>of</strong> 300 musical compositions, and he is about to add one<br />
more to the total, in the form <strong>of</strong> the “Manhattan Waltz,” which he is to play at Friday<br />
evening’s concert. His trip to America, occupying less than six weeks, sea voyage<br />
and all, will nett him about $24,000. In private conversation he is affable, fluent,<br />
courteous, and enthusiastic. He rises from his seat and paces the floor,<br />
emphasizing his speech by frequent gestures. His opinion <strong>of</strong> our country is very<br />
high, and he thinks we have musical material in <strong>New</strong> <strong>York</strong> out <strong>of</strong> which in a<br />
fortnight’s time he could shape the best dance orchestra he ever led. He spoke<br />
disparagingly <strong>of</strong> the Boston Coliseum orchestra, saying that its proportions were so<br />
enormous that it was impossible for him to reach the remote ones with his<br />
influence.<br />
The orchestra <strong>of</strong> last evening comprised sixty-three members, <strong>of</strong> whom some forty<br />
are regular Philharmonic performers. The programme was varied, but rather too<br />
exacting for such a warm evening. The audience and orchestra would both<br />
apparently have been better satisfied with more <strong>Strauss</strong> and less Wagner. The four<br />
<strong>Strauss</strong> compositions were excellently rendered, and in each instance encored with<br />
obstreperous plaudits. The “Circassian March” and “Blue Danube” and “Pizzicato”<br />
polkas were repeated, the latter twice, and after the other pieces the orchestra<br />
played the “Kaiserstadt” polka and “Tritsch-Tratsch” galop.<br />
Mr. <strong>Strauss</strong> sails for Europe on Saturday next, and hence his concerts on<br />
Wednesday and Friday evenings will afford the only opportunity to see him in this<br />
country.<br />
From the <strong>New</strong> <strong>York</strong> Herald, July 9, 1982, p. 10, col. 2<br />
<strong>Strauss</strong> at the Academy<br />
Whether it was on account <strong>of</strong> the rival attraction <strong>of</strong> the Prussian Grenadier Band in<br />
the Bowery draining a large number <strong>of</strong> the Germans away, or the presence <strong>of</strong> the<br />
Garde Republicaine Band at the Alsace-Lorraine Reunion at Irving Hall, the first <strong>of</strong><br />
the <strong>Strauss</strong> concerts last evening was not as well attended as might be expected. It<br />
is said that more tickets have been sold already for Wednesday’s concert than were<br />
disposed <strong>of</strong> last night for the debut <strong>of</strong> the eminent Austrian composer. His<br />
reception was very warm and he was repeatedly called back to the conductor’s stand<br />
after the performance <strong>of</strong> one <strong>of</strong> his matchless works. As the concert proceeded the<br />
enthusiasm <strong>of</strong> the public grew still greater, and voices, hands and feet were brought<br />
into requisition to applaud the vivacious favorite <strong>of</strong> the salons. He selected “The<br />
Artist’s Life” and “The Beautiful Blue Danube” as representatives <strong>of</strong> his inimitable<br />
waltzes, “The Circassian March” and “The Pizzicato Polka.” His power over the<br />
orchestra seems a species <strong>of</strong> magnetism, which gives a color, expression and spirit<br />
to the music that no other conductor in this country can ever hope to obtain. This<br />
was strongly exemplified in “The Circassian Polka,” a quaint, barbaric work, with a<br />
strange mosaic <strong>of</strong> coloring. The utmost precision and nicety <strong>of</strong> expression are<br />
absolutely necessary to give any lucid idea <strong>of</strong> the composition, and the orchestra<br />
responded to every thought <strong>of</strong> the composer. Another feature was the spirit<br />
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displayed by the strings and the “snap,” if we may so call it, infused into the waltz<br />
movements. The polka had not the same effect as in the Coliseum, w<strong>here</strong> the<br />
pizzicato <strong>of</strong> nearly four hundred strings was very remarkable. The rest <strong>of</strong> the<br />
programme, under the direction <strong>of</strong> Bergmann, consisted <strong>of</strong> two overtures, “William<br />
Tell” and “Rienzi,” a selection from “Lohengrin,” and one <strong>of</strong> Meyerbeer’s<br />
“Fackeltanze.” Mr. J. H. Bonawitz played two piano works, an arrangement <strong>of</strong> the<br />
“Tannhauser March” by Liszt, a very commonplace affair by the way, and a brilliant<br />
transcription <strong>of</strong> “Luther’s Hymn.” As the audience was entirely taken up by<br />
<strong>Strauss</strong>, the rest <strong>of</strong> the bill received a cold shoulder. The composer expressed<br />
himself delighted with his reception in <strong>New</strong> <strong>York</strong> and spoke in no measured terms<br />
about the Panjandrum in which he so long suffered. He said he would rather give<br />
concerts in a great city like <strong>New</strong> <strong>York</strong> than be the director in a village like that w<strong>here</strong><br />
the “Jubilee” took place. On Wednesday evening, “The Manhattan Waltz,” which<br />
<strong>Strauss</strong> has just written and dedicated to the Empire City, will be performed for the<br />
first time in public.<br />
From the <strong>New</strong> <strong>York</strong> Tribune, July 9, 1872, p. 5<br />
<strong>Johann</strong> <strong>Strauss</strong><br />
The fascination <strong>of</strong> the waltz was never better illustrated than at the Academy <strong>of</strong><br />
Music last night. T<strong>here</strong> were over 2,000 people, braving heat and multiplied<br />
discomforts, for nothing but to see the great writer <strong>of</strong> dance music, and to hear the<br />
familiar strains <strong>of</strong> the “Beautiful Blue Danube” played not by his famous band but<br />
simply under his direction. The ladies nodded their heads gracefully and beamed<br />
with smiles, and some broke out with ecstatic gestures, clapping their hands to the<br />
measure <strong>of</strong> the waltz, and following every movement <strong>of</strong> the agile little master with<br />
radiant delight. T<strong>here</strong> were hundreds <strong>of</strong> the other sex also—ornate party-youngmen,<br />
who know nothing about the music <strong>of</strong> the heart and head, but are capital<br />
judges <strong>of</strong> the music <strong>of</strong> the heels, and they gave <strong>Strauss</strong> a magnificent reception,<br />
calling him back three or four times after each performance, and venting their<br />
feelings now and then in a complimentary shout. The music <strong>of</strong> which Herr <strong>Strauss</strong><br />
is the best living representative appeals in fact to the tastes <strong>of</strong> a wider variety <strong>of</strong><br />
persons than any other class <strong>of</strong> instrumental music ever written. And it would be a<br />
mistake to suppose that he merely tickles an uneducated fancy, or writes for the<br />
multitude to which the higher kinds <strong>of</strong> music are as a sealed book. In the best <strong>of</strong><br />
his waltzes t<strong>here</strong> is an abundance <strong>of</strong> poetry,—grace <strong>of</strong> movement, tenderness <strong>of</strong><br />
expression, refined sentiment,—as well as the undefinable impulse <strong>of</strong> activity which<br />
is the essence <strong>of</strong> a good dance. They soothe the mind with gentle melody, and<br />
haunt it afterwards with pleasant memories. Many <strong>of</strong> them are true inspirations,<br />
while artistically their structure deserves all praise.<br />
Herr <strong>Strauss</strong> had an orchestra <strong>of</strong> sixty pieces, selected from our Philharmonic<br />
<strong>Society</strong>. The musicians played under him in Boston every day for nearly three<br />
weeks, and may t<strong>here</strong>fore be supposed to be tolerably familiar with his style <strong>of</strong><br />
conducting. They are good players, and <strong>of</strong> course their execution <strong>of</strong> the pieces was<br />
careful and correct; but we must candidly say that they have caught less <strong>of</strong> the<br />
spirit <strong>of</strong> their leader than we expected, and are far from that unanimity and mutual<br />
sympathy which we admire so much in the orchestra <strong>of</strong> Mr. Theodore Thomas.<br />
<strong>Strauss</strong> himself, however, supplies what slight defects the critical ear may detect in<br />
Compiled by the <strong>Johann</strong> <strong>Strauss</strong> <strong>Society</strong> <strong>of</strong> <strong>New</strong> <strong>York</strong>. All rights reserved.<br />
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the band. He has taught them to give a new coloring to the old strains by wellmarked<br />
shades <strong>of</strong> expression, eccentricities <strong>of</strong> tempo, and a contagious vigor and<br />
liveliness <strong>of</strong> touch. He himself, as he whirls about the stand with his violin and<br />
bow, now facing the audience, now turning to one after another <strong>of</strong> the musicians,<br />
playing a little, stamping a little, moving every muscle in rhythm, is the perfect<br />
embodiment <strong>of</strong> a quick and spirited dance. It is impossible to look at him and keep<br />
one’s feet still; it must be impossible to play under him without catching some <strong>of</strong> his<br />
fire. T<strong>here</strong> were ten pieces on the programme last night, <strong>of</strong> which Herr <strong>Strauss</strong> had<br />
four. The first was his “Künstlerleben” (Artist Life) waltz; the second his curious<br />
and grotesque “Circassian March,” which has been played by Mr. Theodore Thomas.<br />
“On the Beautiful Blue Danube” came in the second part. It was received with an<br />
enthusiasm that showed very plainly to which <strong>of</strong> his compositions <strong>New</strong>-<strong>York</strong> gives<br />
the preference. Lastly was presented the charming “Pizzicato Polka,” <strong>of</strong> which the<br />
audience seemed perfectly enraptured. The rest <strong>of</strong> the entertainment was furnished<br />
by Mr. J. H. Bonawitz, whose two piano solos were respectfully listened to, and the<br />
orchestra, under Mr. Bergmann, which was not in the best <strong>of</strong> trim.<br />
From the <strong>New</strong> <strong>York</strong> Times, July 9, 1872, p. 5<br />
Herr <strong>Strauss</strong>’ Concerts<br />
The first <strong>of</strong> the three concerts to be given at the Academy <strong>of</strong> Music, under the<br />
direction <strong>of</strong> Herr <strong>Johann</strong> <strong>Strauss</strong>, occurred last evening. It was enjoyed by an<br />
exceedingly large audience. Although the performance excited quite as much<br />
enthusiasm as that supplied by the band <strong>of</strong> the Grenadier Guards on Friday, it does<br />
not call for the rather lengthened notice the earlier recital exacted. In the one case<br />
we had to deal with the execution <strong>of</strong> three score musicians whom many years <strong>of</strong><br />
association have endowed with a unity <strong>of</strong> sentiment and taste which time alone can<br />
produce; in the other we are only occupied with the influence <strong>of</strong> one man over a<br />
body <strong>of</strong> clever executants. The whole charm <strong>of</strong> yesterday’s concert dwelt—as did<br />
that <strong>of</strong> the Boston music—in the magnetic power and ad captandum manner <strong>of</strong> the<br />
conductor. How great the power we refer to may be estimated from the effect<br />
wrought by the reading <strong>of</strong> Herr <strong>Strauss</strong>’ composition, last night, by players who had<br />
not had the benefit <strong>of</strong> even one rehearsal under his baton. It was impossible,<br />
withal, to remain insensible to what can only be defined by an Italian word—to the<br />
slancio <strong>of</strong> his delivery; or to be dull to the fact that, whatever <strong>of</strong> the poetry <strong>of</strong> motion<br />
was latent in the listener, would surely be brought out on the dancing-floor by the<br />
strains <strong>of</strong> the “Kuenstlerleben Waltz,” or <strong>of</strong> “On the Blue Danube.” Thunderous<br />
applause followed all the selections, each <strong>of</strong> which—except the “Pizzicato Polka,”<br />
which was done thrice—was encored and repeated. The interpretation <strong>of</strong> the several<br />
numbers was correct and precise; its especial beauty resulted from the variety <strong>of</strong><br />
tempo and from the unfailing animation thrown into the work by the conducting<br />
genius. The programme included, in addition to the foregoing pieces, Herr <strong>Strauss</strong>’<br />
quaint and highly colored “Circassian March;” a galop <strong>of</strong> his own, rendered with<br />
immense dash; the overtures to “William Tell” and “Rienzi,” performed with other<br />
music by the orchestra under Herr Bergmann, and two piano solos, by Herr<br />
Bonawitz. The latter consisted <strong>of</strong> Liszt’s arrangement <strong>of</strong> the march from<br />
“Tannhauser,” and the pianist’s transcription <strong>of</strong> “Luther’s Hymn,” both <strong>of</strong> which<br />
were interpreted with faultless technique and considerable eloquence. The second<br />
concert will occur to-morrow.<br />
Compiled by the <strong>Johann</strong> <strong>Strauss</strong> <strong>Society</strong> <strong>of</strong> <strong>New</strong> <strong>York</strong>. All rights reserved.<br />
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From The World, July 9, 1872, p. 5<br />
<strong>Strauss</strong><br />
Herr <strong>Johann</strong> <strong>Strauss</strong> was furnished with an extemporized orchestra <strong>of</strong> about sixtyfive<br />
pieces last evening, and given an opportunity to display his conductorship to a<br />
<strong>New</strong> <strong>York</strong> audience. The Academy <strong>of</strong> Music was filled by the people, who were<br />
anxious to witness the display. The concert, as was to be expected, was not an<br />
extraordinary musical success. The program, curiously composed <strong>of</strong> overtures and<br />
waltzes, <strong>of</strong>fered nothing new and little that was worthy <strong>of</strong> serious critique. It opened<br />
with the overture to “William Tell,” which was carelessly done. This was followed by<br />
the introduction to the third act <strong>of</strong> “Lohengrin,” a waltz (“Artist Life”), the march<br />
from “The Tannhauser,” performed with much conscientious care and much<br />
brilliancy on the piano by Herr Bonawitz, but despite the artistic excellence <strong>of</strong> the<br />
performance failing to do much more than bore the audience; <strong>Strauss</strong>’s “Circassian<br />
March;” the Rienzl overture, which betrayed the thinness <strong>of</strong> the strings and the<br />
informal character <strong>of</strong> the organization; and finally the beautiful and inevitable “Blue<br />
Danube” and “Pizzicato Polka.” As the characteristic <strong>Strauss</strong> compositions have<br />
been much better performed in this city than they were last evening, it is<br />
unnecessary to waste any time upon them now. The great attraction <strong>of</strong> the concert<br />
was <strong>Strauss</strong> himself, who conducted his own pieces in his best rhythmical mood,<br />
and was heartily applauded after each appearance. The more pretentious<br />
compositions received the supervising care <strong>of</strong> Carl Bergmann, but they did not<br />
repay his excertions.<br />
On Wednesday night, at the second concert, <strong>Strauss</strong> will conduct the performance<br />
<strong>of</strong> a new waltz, written in this city and called “The Manhattan.”<br />
From the <strong>New</strong>-<strong>York</strong>er Staats-Zeitung, July 9, 1872, p. 8, col. 5<br />
Concerte<br />
Herr <strong>Johann</strong> <strong>Strauss</strong>, der Wiener Walzerkönig oder Kaiser, wie man ihn nach<br />
Belieben benennen mag, feierte in der Academy <strong>of</strong> Music über Amerikaner und<br />
seine lieben Wiener von den Ufern der schönen blauen Donau einen glänzenden<br />
Sieg...<br />
In dem ersten der drei Strauß’schen Concerte hatte sich gestern Abend in der<br />
Academy <strong>of</strong> Music ein sehr zahlreiches und elegantes Publikum eingefunden,<br />
welches ungefähr zur Hälfte aus Amerikanern, zu der andern Hälfte aus Deutschen<br />
bestand. Den ersten beiden Piecen, der Ouvertüre zu „Wilhelm Tell“ und der<br />
Introduction zum dritten Akte des „Lohengrin“ wurde leider — trotzdem dieselben<br />
unter der genialen Leitung des Herrn Karl Bergmann von dem aus über sechszig der<br />
besten <strong>New</strong>-<strong>York</strong>er Musiker bestehenden Orchester tadellos gespielt wurden —<br />
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nicht die nöthige Aufmerksamheit geschenkt, da Jedermann mit Schmerzen nur<br />
dem Auftreten des Walzerkönigs entgegen sah.<br />
Endlich erschien derselbe auf der zum Orchester umgeschaffenen Bühne und<br />
wurde mit stürmischem Beifallsjubel empfangen. Strauß ist ohne Zweifel ein<br />
Original, und zwar ein geniales. Seine Walzer, Polka’s und Gallopaden mögen von<br />
dem klassischen Musiker verdammt, wenigstens mit Verachtung über die Achsel<br />
angesehen werden, sie haben doch ihre Berechtigung, ihre Stelle in dem großen<br />
Reiche der Musik. Edel und schön in Form und der Melodie, kunstgemäß<br />
aufgebaut, sind und bleiben sie Kunstwerke, was man auch dagegen sagen mag.<br />
Sie sind nicht für den strengen Kunstkenner gemacht, der entweder auf Beethoven<br />
oder auf Wagner schwört, nein, sie sind für die große Masse geschrieben, der sie<br />
Vergnügen, Genuß gewähren. Um sie aber wirklich würdigen zu können, muß man<br />
sie eben unter der persönlichen Leitung des Componisten, unter Strauß’s eigener<br />
Direction, hören. Dann erst werden sie zum Wesen, die Leben und Feuer haben;<br />
erst er verleiht ihnen die wahre Gestalt, das richtige Colorit. Strauß mag ein<br />
capriciöser Dirigent sein, aber in seinen Capricen ist Methode; er reißt als Dirigent<br />
nicht nur das Publikum sondern auch die Musiker mit sich fort.<br />
Wenn der kleine energische Mann mit dem schwarzen Lockenhaar zur Violine greift<br />
und derselben mit fabelhafter Bogenführung, mit einer Beweglichkeit, die den<br />
ganzen Körper ergreift, die süßesten Töne entlockt, während Haupt und Füße bald<br />
wiegend, bald abrupt springend dem Orchester den Takt angeben, dann sieht man<br />
erst ein, was ein Strauß’scher Walzer bedeutet, wie er gespielt werden soll. Das<br />
entzückte, electrisirte Publikum ließ dem kleinen Mann im schwarzen Frack mit<br />
dem blauen Ordensbande denn auch gestern Abend wieder nach den Walzern<br />
„Kunstlerleben“ und „An der schönen blauen Donau“, unter den schönen, die er<br />
geschrieben hat, die schönsten, nach dem circassischen Marsche und der<br />
wunderlieblichen Pizzicata-Polka keine Ruhe, sondern nöthigte ihn jedesmal zu<br />
einem Dacapo, dem er nach unendlichen Verbeugungen auch Folge leistete...<br />
Morgen, in dem zweiten Concerte des Herrn Strauß, wird eine neue Composition<br />
von ihm, der „Manhattan-Walzer“, welcher den <strong>New</strong>-<strong>York</strong>ern resp. den <strong>New</strong>-<br />
<strong>York</strong>erinnen gewidmet ist, zur ersten Aufführung gelangen.<br />
English translation: 1<br />
<strong>Johann</strong> <strong>Strauss</strong>, the Viennese waltz king or emperor, whichever way one prefers to<br />
call him, celebrated a sparkling victory in the Academy <strong>of</strong> Music over Americans and<br />
his beloved Viennese from the banks <strong>of</strong> the beautiful blue Danube...<br />
In the first <strong>of</strong> three <strong>Strauss</strong> concerts, a very numerous and elegant audience,<br />
consisting about half <strong>of</strong> Americans and about half <strong>of</strong> Germans, found itself at the<br />
Academy <strong>of</strong> Music last night. The first two selections, the William Tell overture and<br />
the introduction to the third act <strong>of</strong> Lohengrin, were not afforded the appropriate<br />
attention, even though the orchestra, which was brilliantly conducted by Carl<br />
Bergmann and was made up <strong>of</strong> more than 60 <strong>of</strong> <strong>New</strong> <strong>York</strong>’s best musicians, played<br />
impeccably. That’s because everyone was only eagerly anticipating the entrance <strong>of</strong><br />
the waltz king.<br />
1 Translation Copyright © 2011 <strong>Johann</strong> <strong>Strauss</strong> <strong>Society</strong> <strong>of</strong> <strong>New</strong> <strong>York</strong>. All rights reserved.<br />
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Finally he appeared on the stage, which had been turned into an orchestra pit, and<br />
was received with thunderous applause. <strong>Strauss</strong> is without doubt an original, and<br />
a brilliant one at that. His waltzes, polkas, and galops may be condemned by<br />
classical musicians, or at least looked down on with contempt. But they are<br />
legitimate, and have their place in the great realm <strong>of</strong> music. Noble and beautiful in<br />
form and melody, artfully constructed, they are and remain works <strong>of</strong> art, no matter<br />
what one may say against them.<br />
They are not made for the strict connoisseur <strong>of</strong> art, who swears either by Beethoven<br />
or by Wagner. No, they have been written for the large masses, to which they<br />
provide pleasure and joy. But to be able to truly appreciate them, one should hear<br />
them conducted by the composer himself, under <strong>Strauss</strong>’s own direction. Only then<br />
their essence comes out, with life and fire; only he confers on them their true<br />
character, their true flavor. <strong>Strauss</strong> may be a capricious conductor, but t<strong>here</strong> is a<br />
method to his capriciousness; as a conductor he pulls along not only the audience<br />
but also the musicians.<br />
When the small and energetic man with the curly black hair seizes his violin, he<br />
elicits from it the sweetest tone, with his marvellous bow handling and with a<br />
movement that grips his entire body. As he indicates the beat to the orchestra, with<br />
shaking head and feat or with sudden jumps, only then does one realize what a<br />
<strong>Strauss</strong> waltz means, how it should be played. The delighted, electrified audience<br />
did not give the little man in the black tails with the blue ribbon any rest last night<br />
after the waltzes Artist’s Life and By the Beautiful Blue Danube, the prettiest among<br />
all the pretty ones that he has written, and after the Circassian [Egyptian] March<br />
and the wonderfully charming Pizzicato Polka. Instead, time and again they<br />
compelled him to an encore, which after endless bows he would deliver.<br />
Tomorrow, in his second concert, <strong>Strauss</strong> will perform for the first time a new<br />
composition, the Manhattan Waltz, which he has dedicated to the men and women<br />
<strong>of</strong> <strong>New</strong> <strong>York</strong>.<br />
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Wednesday, July 10, 1872<br />
From The Sun, July 11, 1872, p. 2, col. 7<br />
Another Academy Jam<br />
<strong>Strauss</strong>’s Second Concert—The Blue Danube Madness—The <strong>New</strong> Manhattan<br />
Waltz<br />
Four thousand people crowded into the Academy last evening, and although the<br />
thermometer must have stood away above ninety, they seemed as if they would<br />
never let the orchestra cease playing the “Blue Danube Waltz” until every one<br />
melted. <strong>Strauss</strong> was as magnetic as ever, and excited his orchestra and audience<br />
even more than on his opening night. “The Manhattan Waltz,” which he will play for<br />
the first time to-morrow evening, is an arrangement <strong>of</strong> “The Old Folks at Home,”<br />
with characteristic variations. It will undoubtedly make as great a hit in its way as<br />
Nilsson did with another negro melody.<br />
Mr. <strong>Strauss</strong> is under engagement to open a season <strong>of</strong> thirty concerts at Baden<br />
Baden on the 25th <strong>of</strong> August, and was unable to accept Mr. Rullman’s tempting<br />
<strong>of</strong>fer <strong>of</strong> $50,000 gold to lead at thirty concerts in our principal cities. He informs us<br />
that he does not expect to be able to revisit America for many years, but on his<br />
return to Vienna he will compose a waltz on American themes that he thinks our<br />
people will like better than the “Blue Danube.”<br />
From the <strong>New</strong> <strong>York</strong> Herald, July 11, 1872, p. 7, col. 4<br />
The Second <strong>Strauss</strong> Concert<br />
The Academy <strong>of</strong> Music was literally packed last night, every seat in the house being<br />
occupied, and but little available standing room left. The desire to see the presiding<br />
genius <strong>of</strong> every civilized ballroom, the favorite son <strong>of</strong> Terpsichore, and the genuine,<br />
orchestral Puck, is universal, especially among the ladies. The orchestra with which<br />
Mr. Rullman has provided him is a picked body, from the Philharmonic <strong>Society</strong>, and<br />
most <strong>of</strong> the members played under the direction <strong>of</strong> <strong>Strauss</strong> at the Boston Jubilee.<br />
They respond well to every motion <strong>of</strong> the mercurial, little man, who conducts with<br />
fiddle, bow, head, arms and legs, and even his coat tail seems instinct with<br />
expression. Of course, after every piece which he conducted the audience resolved<br />
itself into an enthusiastic ratification meeting, and applauded vociferously. The<br />
works which he selected last night were “The Thousand and One Nights,” “Beautiful,<br />
Blue Danube” and “Morning Leaves” waltzes and two <strong>of</strong> his best polkas. Of these<br />
the “Blue Danube” is unmistakably the reigning favorite with the public. Carl<br />
Bergmann conducted a couple <strong>of</strong> overtures and an operatic finale, and Mr. J. H.<br />
Bonawitz, one <strong>of</strong> the most accomplished <strong>of</strong> our resident pianists, played some works<br />
by Schumann, Chopin, Liszt, notably the Chromatic Galop <strong>of</strong> the Abbé, in an<br />
artistic style. On Friday evening the waltz, “Manhattan” will be played for the first<br />
time, under the direction <strong>of</strong> the composer.<br />
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From the <strong>New</strong> <strong>York</strong> Times, July 11, 1872, p. 5<br />
The <strong>Strauss</strong> Concerts<br />
The second <strong>of</strong> the <strong>Strauss</strong> concerts was given, at the Academy <strong>of</strong> Music, last<br />
evening. The house was crowded in every part, and the delight which the spirited<br />
recital <strong>of</strong> the conductor’s compositions awakened was expressed by even more<br />
enthusiastic and prolonged demonstrations than were made on Monday. A note to<br />
the effect that the performance <strong>of</strong> the band was decidedly superior to their earlier<br />
execution under Herr <strong>Strauss</strong>’ baton, is the only one suggested by yesterday’s<br />
concert. The “Thousand and One Nights” waltz, the “Tritsch Tratsch” galop, the<br />
“Morgenblatter Waltz,” and the “Annen Polka”, were the selections from Herr<br />
<strong>Strauss</strong>’ works on the bill, and the delivery <strong>of</strong> these was supplemented by the<br />
rendering <strong>of</strong> the “On the Blue Danube” waltz, <strong>of</strong> the “Pizzicato” polka, and <strong>of</strong> the<br />
“Circassian March.” Additional instrumental music was supplied by the orchestra<br />
under the lead <strong>of</strong> Herr Bergmann, and Mr. Bonawitz contributed several pianosolos,<br />
one <strong>of</strong> which was devoted to an exposition <strong>of</strong> a fresh and graceful impromptu<br />
written by himself. The third and last <strong>Strauss</strong> concert may be attended to-morrow,<br />
when it is intended that Herr <strong>Strauss</strong>’ new waltz, called “The Manhattan,” shall be<br />
listened to.<br />
From The World, July 11, 1872, p. 4<br />
<strong>Strauss</strong>’s Concerts<br />
Herr <strong>Johann</strong> <strong>Strauss</strong>’s second concert at the Academy <strong>of</strong> Music last evening<br />
attracted an immense audience, and was very favorably received. To be sure it is<br />
ordinary dance music, and not by any means new to <strong>New</strong> <strong>York</strong> audiences, but the<br />
waltzes and polkas were given with a vim and sensuousness the like <strong>of</strong> which we<br />
have not had since Julien’s time. Indeed, Herr <strong>Strauss</strong> reminds one after a manner<br />
<strong>of</strong> that eccentric conductor. He evidently highly pleased the audience, as he<br />
received a double encore at the performance <strong>of</strong> each <strong>of</strong> the pieces under his<br />
leadership. Mr. J. H. Bonawitz performed on the piano, but failed to make any<br />
impression; and the overtures, directed by Carl Bergmann, were merely tolerated.<br />
On Friday night Herr <strong>Strauss</strong> will play his new waltz, composed in honor <strong>of</strong> the City<br />
<strong>of</strong> <strong>New</strong> <strong>York</strong>, and entitled “Manhattan.”<br />
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Friday, July 12, 1872<br />
From The Sun, July 12<br />
This Evening’s Entertainments<br />
At the Academy, <strong>Strauss</strong>, the man-torpedo, who electrifies all with whom he comes<br />
into contact, will make his last appearance before an American audience, signalizing<br />
the occasion by the first production <strong>of</strong> his new “Manhattan Waltz.”<br />
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From The Sun, July 13, 1872, p. 1, col. 6<br />
<strong>Strauss</strong>’s Farewell to <strong>New</strong> <strong>York</strong><br />
It does seem as if the Austrian waltz king were able to draw crowds to see his<br />
eccentric manner <strong>of</strong> conducting an orchestra, despite the utmost violence <strong>of</strong><br />
temperature, and to so bewitch and electrify them that they would sit until broad<br />
daylight to hear the languishing melody <strong>of</strong> his Blue Danube Waltz, or one would<br />
have thought the few thousand most ardent admirers <strong>of</strong> his music had already<br />
availed themselves <strong>of</strong> the two previous occasions on which the Academy has been<br />
jammed from pit to dome, but last evening capped the climax in point <strong>of</strong> both<br />
numbers and enthusiasm. The receipts are reported by Mr. Rullman at over<br />
$5,000, which is the best evidence <strong>of</strong> the popularity that Mr. <strong>Strauss</strong> has achieved<br />
during his brief visit to America. It is beyond comprehension that men, not actually<br />
music-mad should have been willing to stand for hours, as they did last evening,<br />
jammed in a lobby into a compact, sweltering mass, for the pleasure <strong>of</strong> seeing any<br />
noted man indulge in any imaginable eccentricities. That sort <strong>of</strong> thing is pleasureseeking<br />
under difficulties.<br />
Poor <strong>Strauss</strong> himself was a sight to behold as he came behind the scenes after a<br />
siege on the platform. The perspiration stood in great beads on his brow, his hands<br />
were damp, his collar limp, his hair dishevelled, and his whole appearance that <strong>of</strong> a<br />
man just emerging from a dip in the river. But neither heat nor moisture could<br />
suppress his enthusiasm nor dampen his ardor. Again and again he returned to<br />
the business in hand, giving the “Pizzicato Polka,” the “Circassian March,” the new<br />
“Manhattan,” and the old “Blue Danube” waltzes, until his patrons were satisfied.<br />
The “Manhattan” waltz was received with great enthusiasm, and twice encored. In<br />
some particulars it slightly resembles the “Blue Danube,” and like all <strong>of</strong> <strong>Strauss</strong>’s<br />
music is full <strong>of</strong> the rhythm <strong>of</strong> the dance. It comprises a long introduction, and at<br />
the finale the familiar melody <strong>of</strong> “The Old Swanee River” is introduced, without<br />
regard to waltz time. In fact, to speak under favor, it seemed like a bit <strong>of</strong> patchwork,<br />
gotten up under the spur <strong>of</strong> immediate necessity to give éclat to his final concert.<br />
From the <strong>New</strong> <strong>York</strong> Herald, July 13, 1890, p. 5, col. 3<br />
Farewell to <strong>Strauss</strong><br />
The celebrated Austrian composer took an affectionate adieu <strong>of</strong> America last night<br />
at the Academy <strong>of</strong> Music. The house was even more crowded than on Wednesday<br />
night, and the audience who went merely to see the man whose compositions have<br />
become a necessity in every ball room, became frantic after each work that he<br />
conducted. The novelty <strong>of</strong> the occasion was the “Manhattan Waltz,” which <strong>Strauss</strong><br />
has dedicated to this city. It is partly a rehash <strong>of</strong> a few old themes <strong>of</strong> the composer,<br />
with a commonplace arrangement <strong>of</strong> “The Old Folks at Home.” It is entirely<br />
unworthy <strong>of</strong> the mind that conceived “An der Schoenen, Blauen Donau.” Mr.<br />
<strong>Strauss</strong> has evidently been pushed to write something out <strong>of</strong> compliment to<br />
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America, and smarting under the humiliation he underwent in Boston, the first<br />
experience he had <strong>of</strong> our country, he took revenge in composing “The Manhattan<br />
Waltz,” a work inferior to many <strong>of</strong> the waltzes by our own local writers. Bonawitz<br />
played Weber’s “Concertstück” on the piano with a fire, precision and expression<br />
such as astonished even those who had heard him frequently before, and Carl<br />
Bergmann conducted four orchestral works with his accustomed care and talent.<br />
<strong>Strauss</strong> and his lady leave for Europe to-day by the steamship Donau (not the<br />
schoenen blauen).<br />
From the <strong>New</strong> <strong>York</strong> Times, July 13, 1872, p. 5<br />
The <strong>Strauss</strong> Concerts<br />
The third and last concert, under the direction <strong>of</strong> Herr <strong>Johann</strong> <strong>Strauss</strong>, was given at<br />
the Academy <strong>of</strong> Music last evening. The house was filled to overflowing. The<br />
enthusiasm, <strong>of</strong> course, was intense. When the earliest performances <strong>of</strong> Herr<br />
<strong>Strauss</strong> elicited the noisy demonstrations <strong>of</strong> delight we have so <strong>of</strong>ten adverted to, it<br />
was only to be expected that the farewell efforts <strong>of</strong> the composer and conductor<br />
would produce an almost unparalleled excitement. The anticipation was fulfilled.<br />
All the numbers <strong>of</strong> the programme were repeated, and after “L’Enfantillage” polka,<br />
the last selection but one on the programme, had been played, it became necessary<br />
to supplement the entertainment by a recital <strong>of</strong> “On the Blue Danube,” and by two<br />
recitals <strong>of</strong> the “Pizzicato” polka. The remaining incidents <strong>of</strong> the concert do not exact<br />
protracted attention. Herr <strong>Strauss</strong>’ new “Manhattan” waltz was proven an excellent<br />
specimen <strong>of</strong> dance music, but its rehearsal did not show that it contained any but<br />
well-worn ideas, w<strong>here</strong><strong>of</strong> the treatment, if satisfying, was almost too familiar. The<br />
introduction, as the final movement, <strong>of</strong> “ ’Way Down the Suwanee River”<br />
commended the composition, however, to the audience, and the whole work was<br />
listened to once more amid unmistakable evidences <strong>of</strong> gratification. The waltz,<br />
“Wine, Women and Song”—very poorly done by the orchestra—and the “Circassian<br />
March,” which was superbly executed, were also heard. Mr. Bonawitz was the<br />
pianist and Herr Bergmann conducted the rendering <strong>of</strong> the miscellaneous<br />
selections. Herr <strong>Strauss</strong> sails for Europe this morning. The warmth <strong>of</strong> yesterday’s<br />
leave-taking made the popular liking for the conductor and his writings so clear that<br />
we cannot but trust, as well as hope, that his first visit to the United States will not<br />
be his last.<br />
From the Weekly Review, July 13, 1872 (as reprinted in Dwight’s Journal <strong>of</strong> Music,<br />
July 27, 1872, p. 276):<br />
The True Waltz Tempo.—<strong>Strauss</strong> in <strong>New</strong> <strong>York</strong>.<br />
Let us confess that we have learned something from Herr <strong>Johann</strong> <strong>Strauss</strong>. Let us<br />
admit that we were wrong and that he has set us right. It has been our practice to<br />
play waltzes too fast; at a tempo, indeed, that left light and shade out <strong>of</strong> the<br />
question. We have <strong>of</strong>ten adverted to this dizzy pace, and condemned it for its<br />
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expressionless impetuosity. A waltz should picture a gliding grace, and not a dizzy,<br />
whirling madman.<br />
Hear a waltz played by Thomas’s orchestra and the same by <strong>Strauss</strong>’s band and you<br />
hardly recognize it as the identical piece. Not only does the former take the tempo<br />
altogether too quick, but fails, consequently, to give it that variety <strong>of</strong> expression<br />
without which the performance is mere mechanism. This quality is required in<br />
waltzes as well as in symphonies and overtures. <strong>Strauss</strong>’s waltzes are splendid<br />
compositions, and are acknowledged by all our first class musicians to be the best<br />
we have. Their very excellence implies that they ought to be played with genuine<br />
significance.<br />
It is really wonderful how a pianissimo or a forte, a retardando or a crescendo, an<br />
emphatic accent or other mark <strong>of</strong> expression animates, improves and heightens the<br />
effect <strong>of</strong> a piece. It gives it life and color at once, and this has been observed and<br />
will never be forgotten by all who have heard <strong>Strauss</strong>’ waltzes performed under<br />
<strong>Strauss</strong>’ direction. He is, beyond question, a splendid and masterly conductor, and<br />
deserves all the applause he has received in Boston and <strong>New</strong> <strong>York</strong>. He has opened<br />
the eyes <strong>of</strong> the American people to the proper waltz tempo, and we cannot help<br />
thinking that a great reform will take place with us in the performance <strong>of</strong> his pieces.<br />
We have had an opportunity <strong>of</strong> hearing how he designed and wants them to be<br />
played, and let us pr<strong>of</strong>it by the instruction.<br />
The three grand orchestral concerts at the Academy <strong>of</strong> Music, over which <strong>Strauss</strong><br />
has presided, were brilliant triumphs <strong>of</strong> instrumentation…<br />
<strong>Strauss</strong>, as may be gat<strong>here</strong>d from what we have premised, gave his waltz “Künstler<br />
Leben” (Artist Life), in slower time than that in which it is taken by Thomas, but the<br />
effect was so delightful that an encore was a foregone conclusion; it took the shape<br />
<strong>of</strong> one <strong>of</strong> his beautiful polkas. The “Circassian March” is a very original and<br />
characteristic composition, by <strong>Strauss</strong>, and was played in brilliant style. We could<br />
take no exception to its performance, unless to the introduction <strong>of</strong> signing by the<br />
orchestra, which reminds us too palpably <strong>of</strong> our negro minstrels. His famous,<br />
favorite waltz, “On the Beautiful Blue Danube,” was given with even more than its<br />
usual éclat. A double encore was imperatively demanded, and on the second<br />
response assumed the form <strong>of</strong> his “Tritsch Tratsch Polka.” His “Pizzicato Polka”<br />
proved a bright and marvellous piece <strong>of</strong> execution. The pianissimos and crescendos<br />
were perfect. Thrice in succession was this charming gem presented, to satisfy the<br />
delighted and almost insatiable craving <strong>of</strong> the public, that seemed to grow by what it<br />
fed on.<br />
Wednesday evening’s concert was thronged and brilliant…The flow <strong>of</strong> melody<br />
through the <strong>Strauss</strong> portion <strong>of</strong> the programme was clear and brilliant as that <strong>of</strong> a<br />
mountain brook. The waltz “Tausend und eine Nacht,” the polka “Tritsch Tratsch,”<br />
the waltz “Morgenblätter“ (Morning Papers), and the polka “Annen” were given in all<br />
their bright and charming color, and “painted” in perfection, winning double<br />
encores, and thus introducing other sparkling favorites. The orchestra was superb,<br />
and whatever envy or ill nature may say to the contrary, kept together like the<br />
Macedonian phalanx, and marched to harmonious victory with the certainty <strong>of</strong> the<br />
Roman legion.<br />
Compiled by the <strong>Johann</strong> <strong>Strauss</strong> <strong>Society</strong> <strong>of</strong> <strong>New</strong> <strong>York</strong>. All rights reserved.<br />
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Page 14 <strong>of</strong> 14