Symphony and Popular Concert: 1st

Includes programme

Includes programme

Includes programmes for all four concerts in the series.

Issuing of the programmes for five of the six forthcoming concerts.

“Mr. Theodore Thomas is a missionary of art and amusement who deserves on the rare occasions when he gives us a regular set concert in a regular concert room the most cordial welcome a New-York audience can extend to him. We have been accustomed to throng the Summer garden, but when he used to give symphony concerts in the Winter we paid little attention to them. For two or three years he has been traveling about the country, getting elsewhere the encouragement of which we were so chary, and meanwhile so perfecting his orchestra that it has become by far the finest body of musicians ever organized in the United States, surpassing in one particular even the orchestra of the Philharmonic Society —namely, in the sympathy among the players, only to be obtained by incessant practice together. Take 60 good men, under a good leader, and make them play together every day, so that life becomes one long uninterrupted rehearsal, and you get a result which never can be obtained from a band which is only brought together occasionally, however excellent its material. Mr. Thomas has secured, moreover, some of the very best individual performers in the United States—for he can easily command the best when he can guarantee constant employment—and what with the perpetual practice and the gradual process of selection, he has so improved his company that we should never know it for the same which used to play for us at Steinway Hall three years ago. Indeed, in its principal constituents it is not the same.

The programme offered last night for the opening of the series of six entertainments promised us this week, was the following [see above].

The orchestra gave a splendid specimen of their quality in the opening measures of the ‘Anacreon’ overture. The precision of attack and the nice shade of expression here were beyond all praise, and the whole piece was most beautifully given. The adagio from the great Choral symphony was equally a refined and finished performance; the [captivating?] Theme and Variations from Schumann’s posthumous quartette was charmingly played by the whole string orchestra; and the ‘Der Freyschütz’ went off with a splendor to which we are entirely unaccustomed. Two other pieces on the bill were novelties. The Introduction and Finale from ‘Tristan und Isolde’ are curious [illegible] of Wagnerism, not perfectly intelligible apart from their place in the drama, but decidedly interesting. The Introduction is given chiefly to the strings; the Finale contains one of those superb musical climaxes in which Wagner is almost without a rival. The other novelty, the Saltarello of Gounod, is a striking and somewhat fantastic dance movement composed for the London Philharmonic almost a year ago, and likely to find popular favor.

Miss Krebs was warmly greeted on her return to a public from whom she has too long been absent. She played as she always does—with the most perfect command of her instrument, the most exquisite accuracy, and a spirit that is almost [illegible]. The brilliant and difficult Fantaisie of Liszt’s must be accorded as one of her most distinct triumphs, and the gems from Chopin and Rubinstein showed in another line the grace and fineness of her touch. The concert, in fact, was one of those rare ones at which a critic’s only duty is to admire. The programme was perhaps somewhat above the taste of the multitude—for though it cannot be called strictly classical, most of the pieces required for their comprehension a pretty good musical education—but such a selection was eminently appropriate for an opening night. The performance calls for nothing but the warmest praise.”

“Though the programme of Mr. Thomas’ first symphony concert given at Steinway Hall, last evening, was not equal in interest to the bills of the entertainments in reserve for us, it was comprehensive and acceptable. It was, of course, superbly interpreted. Mr. Thomas’ musicians have performed side by side for many years, and by their personal talent and industry, under the guidance of a skilled and energetic chief, have formed a repertory in the recital of which they can nowhere be excelled. Each of their efforts last night had hearty appreciation. The elegant overture to ‘Anacreon,’ in which Cherubini’s power of elaborate writing is shown with charming effectiveness, was the first piece delivered. The Adagio of Beethoven’s Ninth Symphony, a composition as much in contrast to that preceding it as could be desired, had equally masterly treatment. Wagner’s ‘Tristan and Isolda,’ represented by the introduction and finale to that ill-known work, followed. The first hearing of these excerpts did not inspire with the admiration of which a rendering of passages from ‘Tannhauser,’ ‘Rienzi,’ and ‘Lohengrin’ always elicits evidence. Nicely balanced as Mr. Thomas’ orchestra is for most purposes, its strings do not have quite the needed prominence where such free use of the brass as Wagner makes is resorted to. Far more impressive, both in respect of lucid treatment and eloquent playing, was the arrangement, for string orchestra, of Schubert’s quartet in D minor. This, indeed, was the best selection of the entertainment. M. Gounod’s ‘Saltarello,’ written originally for the London Philharmonic, was a disappointment. Its orchestration is as clever as could be expected from the composer of ‘Faust,’ but its motive and rhythm have no other result than to remind one, to the disadvantage of M. Gounod’s contribution, of the fresh and spirited tarantella in Auber’s ‘Masaniello.’ The orchestral portion of the concert was ended with a recital of the overture to ‘Der Freyschuetz,’ which again placed into light the qualities of Mr. Thomas’ instrumental forces, who are as one soloist in taste and touch. In addition to the labors of the orchestra, the audience enjoyed two piano performances by Miss Marie Krebs. We have often had occasion to speak of this young lady, whose memory is prodigious, and whose technical ability can hardly be augmented. Miss Krebs plays all kinds of music with clearness, vigor and correctness. But she excels in none, and her reading of Chopin, who, of all musicians, exacts of his exponents imagination and sensibility, and of Rubinstein, whose compositions are the very embodiment of fancy, are especially infelicitous. The nocturne by the former composer, and the waltz by the latter were not dealt with in the right spirit. Miss Krebs’ command of the keyboard was very plainly asserted in Liszt’s fantasia on Hungarian airs, but the disinvoltura of these was scarcely depicted in the formal handling of the artist.”

“The present week is made specially interesting, to lovers of good music, by a series of four concerts and one matinée, which Theo. Thomas announces to take place at Steinway Hall. If the first of these concerts, which I attended last evening, is to be taken as a sample of those to come we have much enjoyment in store. The following pieces were performed [see above].

No one who has heard this excellent orchestra need be told of the precision and delicacy with which these pieces were rendered. The Adagio of the Ninth Symphony I have rarely heard so fully interpreted.