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JS TM<br />

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 />

www.<strong>Strauss</strong>USA.org<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 />

www.<strong>Strauss</strong>USA.org<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 />

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 />

www.<strong>Strauss</strong>USA.org<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 />

www.<strong>Strauss</strong>USA.org<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 />

www.<strong>Strauss</strong>USA.org<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 />

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 />

www.<strong>Strauss</strong>USA.org<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 />

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 7 <strong>of</strong> 14


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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 />

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 />

www.<strong>Strauss</strong>USA.org<br />

Page 8 <strong>of</strong> 14


JS TM<br />

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 />

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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JS TM<br />

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 />

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 />

www.<strong>Strauss</strong>USA.org<br />

Page 10 <strong>of</strong> 14


JS TM<br />

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 />

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 />

www.<strong>Strauss</strong>USA.org<br />

Page 11 <strong>of</strong> 14


JS TM<br />

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 />

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 />

www.<strong>Strauss</strong>USA.org<br />

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JS TM<br />

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 />

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 13 <strong>of</strong> 14


JS TM<br />

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 />

www.<strong>Strauss</strong>USA.org<br />

Page 14 <strong>of</strong> 14

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