[Met Concert/Gala] CID:30760
Tenth Grand Sunday Night Concert. Metropolitan Opera House: 02/1/1903.
Metropolitan Opera House
February 1, 1903
TENTH GRAND SUNDAY NIGHT CONCERT
Die Fledermaus: Overture
Il Barbiere di Siviglia: Largo al factotum
Samson et Dalila: Amour! viens aider ma faiblesse!
Paul Miersch: Indian Rhapsody
"Composed on themes selected from the songs and dances of the Ute Indians."
Joachim: Concerto in the Hungarian Style
Jaroslav Kocian, violin
Siegfried: Forest Murmurs
Luigi Denza: Mattinata di maggio
Tito Mattei: Slumber Song
Carmen: Toreador Song
Anton Rubinstein: Die Thršne
Henry Hadley: My Shadow
Alfredo D'Ambrosio: Canzonetta
Johan Svendsen: Romance
Wieniawski: Scherzo Tarantelle
Jaroslav Kocian, violin
Paul Miersch was a cellist in the Metropolitan Opera orchestra.
Unsigned Review in The New York Times
KOCIAN AT THE OPERA HOUSE
Ute Indian Rhapsody Arranged by P. T. Miersch, One of the Cellists, Wins an Ovation
A distinct novelty was put into the programme of last night's concert at the Metropolitan Opera House. It was an Indian rhapsody, composed by P. T. Miersch, one of the cello players of the house orchestra, on themes selected from the songs and dances of the Ute Indians. Alfred Hertz was leading. The composition was not only one of interest to the student at all familiar with the musical conception of the red man, but of sufficient melody to charm the audience as a whole. The manner in which the chants of the Indians, melancholy and suggestive of the forest wilderness, were interwoven with the fierce rhythmic dances in which the tomtoms and cymbals were conspicuous was especially effective. Mr. Miersch had the gratification of receiving an ovation which kept him on his feet for several minutes bowing to the audience and his fellow players.
Kocian, the young Bohemian violin virtuoso, appearing for the last time at these concerts, by arrangement with Rudolph Aronson, played one of Joachim's concertos in the Hungarian. style, which gave him full opportunity to exhibit his remarkable technique, Later he was roundly applauded after playing less pretentious, but more tuneful, compositions by d'Ambresio, Svendsen, and Wieniawski.
The balance of the programme was of high order. Mr. Campanari sang Figaro's aria from Rossini's "Il Barbiere di Siviglia" and the ever-popular "Toreador Song" from Bizet's "Carmen." Mme. Fritzi Scheff sang "Air des Oiseaux," from Leoncavallo's "Pagilacci," Rubinstein's "Die Thršne" and Henry Hadley's "My Shadow." Miss Carrie Bridewell sang the air "Amour, viens aider," from Saint-SaŽns' "Samson et Dalila," Deuza's "May Morning," and Mattei's " "Slumber Song."