A frequent stop during Bottesini's American tours of the 1840s. The city was as enthusiastic about Bottesini as any venue he ever played. This review is typical:

With the performance of Bottesini, it would seem that imagination, in reference to the capabilities of the double bass, must lose itself in reality. The exquisite harmonies he brings out with such copious freedom, his lightning achievement of scales and arpeggios, his perfect and easy mastery over gigantic difficulties, the delicacy, expression, and intensity of passion he evinces, combined with purity of intonation, and the very soul of musical perfection, which carries through feats wonderful and incredible to those who do not witness his execution--all unite to rank Bottesini as the master spirit who controls the hidden powers of harmony in the double bass, and superior even to Paganini in his creation of new effects from a familiar instrument.

Boston Post, May 2, 1847

Bottesini, however, took little note of Boston. He even seemed unware that it was a place separate from New York or even Philadelphia. Was this out of a subconscious prescient deference to Koussevitzky, who would reign in the city 100 years hence?

"We all must learn where to place our fingers."
© 1997, Jeff Brooks (