Philharmonic Society of New York Public Rehearsal: 2nd

“The Academy of Music was crowded yesterday from parquet to dome by a true Philharmonic audience, with an exuberance of elegantly dressed ladies and a cheering display of equipages on Irving Place. The contrast between the attendance yesterday and that of the week before caused much comment, and was accounted for generally by the fact that Mr. S. B. Mills, the leading pianist of America, was to essay for the first time a new, or, at least, unfamiliar, piano concerto by Liszt. This work, although written fifteen years ago and performed by some of the Abbe’s pupils, was guarded by him in manuscript form until a few years since, when it was published. It was played for the first time in this country by Miss Anna Mehlig in Boston at Theodore Thomas’ symphony soirées. It will never be heard often in public, on account of the enormous difficulties with which it is overloaded. The first concerto (the second, we believe, in strict accordance with date of composition) is well known here, and has been regarded as the ultima thule of technical difficulty and transcendental ideas. But it falls far short of the thorny paths which lead through the second concerto. The piano in this work becomes, to a great extent, so identified with the orchestra that it loses its solo identity and the work is more symphonic than concerto. The difficulty in this respect is still more increased by the endless variety of color, treatment and effect which this new instrument communicates to the orchestra. From a first hearing of such a remarkable work we cannot undertake to pronounce a definite opinion on its merits; but we can say that it cannot fail to prove an interesting study to any musician. The fragmentary character of Liszt’s works was never more strongly displayed, and eccentric and bizarre effects are poured into it unstintedly. The orchestral programme, of which we have spoken before, remains unchanged. It is meagre enough for any concert.”