Thomas Central Park Garden Concert: Wagner Night
Event Information
Venue(s):
Central Park Garden
Conductor(s):
Theodore Thomas [see also Thomas Orchestra]
Price: $1
Event Type:
Orchestral
Record Information
Status:
Published
Last Updated:
8 March 2025
Performance Date(s) and Time(s)
23 Sep 1873, 8:00 PMProgram Details
“GRAND WAGNER NIGHT and CLOSE OF THE SEASON.”
Performers and/or Works Performed
5)
aka Ride of the Valkyries;
Walkurenritt;
Walkure, Die
Composer(s): Wagner
6)
8)
Citations
1)
“The cool weather and the opening of many other places of amusement have not by any means caused empty seats at the Central Park Garden. The music seems all the more enjoyable in the more comfortable temperature, and last evening two encores were demanded and granted.
For Tuesday evening, the 23d instant, a ‘grand Wagner night’ is announced, when the lovers of the ‘music of the future’ will be able to hear the great composer’s latest compositions rendered as they only can be in this country.”
3)
“Positively no free list except the tickets issued to the press. Season and page tickets will not be admitted. The seating capacity of the Hall will be greatly increased for this occasion.”
4)
“The delightful Central Park Garden concerts will terminate on Tuesday. The evening of that day is set apart for the recital of a Wagner programme, and it is proposed to have quite a gala entertainment.”
5)
“The eighth season of Theodore Thomas’ summer nights’ concerts closed on Tuesday evening at Central Park Garden with a Wagner night. The programme, with the exception of Beethoven’s eighth symphony and a violin solo played by Mr. Listemann, consisted of compositions by Richard Wagner. The season just terminated was the most successful one of the series, and it is generally admitted that these concerts—of which nearly 150 were given during the summer—have become an actual necessity to our music-loving public. The programmes have been not only entertaining in the highest degree, but also very instructive, and contained, besides the works of the masters, a number of novelties never before heard in this country.”
6)
“On Tuesday evening Mr. Theodore Thomas will close his long series of concerts at the Central Park Garden with a programme in which Wagner’s music will bear a prominent part. [Lists program.] All this music is eminently characteristic of the composer, and none of it has been made too familiar by repetition.”
7)
“The Wagner Concert to-night will bring Mr. Theodore Thomas’s season of Garden Concerts to a close. It is the eighth he has given in New-York (two having been held in Terrace Garden before the opening of the present establishment), and his friends will rejoice to know that it has been the most prosperous of all, as it has certainly been the best and most brilliant. Next week Mr. Thomas is to start on his annual tour, opening the new music Hall in Chicago on the 6th of October, and going afterward to Milwaukee, St. Louis, Louisville, Cincinnati, Cleveland, Detroit, Pittsburgh, Philadelphia, Washington, &c. The first of the Winter series of Symphony Concerts in New-York will be given on the 22d of November.”
8)
Article on the American tour the orchestra will undertake starting in October. Includes lengthy quotation from Thomas on the subject.
10)
“The final concert of the season at Central Park Garden was given last evening. The programme was made up especially for a ‘Wagner night,’ and in the first and third parts consisted wholly of the music of that composer, Beethoven’s Eighth Symphony constituting the second part. The seating capacity of the concert-room was increased by the removal of all the tables between the main aisle and the stage; but, although the night was stormy, standing room was constantly in demand.
Of the music it is unnecessary to speak. So nearly has Mr. Thomas brought his orchestra to the point of perfection that criticism is no longer necessary. But never have we listened to them when each player seemed more thoroughly and delicately to express the meaning of the composer, and the audience, joining in their appreciation, were lavish of their applause.
The season just closed has been the most encouraging one that the ‘Garden’ has enjoyed. The music has been of a more uniformly elevated tone, its execution all that could be desired, and the receipts larger than ever. A number of new pieces have been introduced, among the most noteworthy the Second Suite in canon form, by Grimm; the Serenade in D, op. 11, by Brahms; the Symphony op. 7, by Julius Zellner; the Symphony op. 4, and the Symphonic overture, by J. S. Svendsen, and the Nordische Suite, by Asgar Hamerick.
Several correspondents, to whose communications we have given place while not agreeing with their views, as we often do when opinions are honestly expressed, have complained of the classical character of the music given by Mr. Thomas, denied that the public can be ‘educated up,’ and attributed the applause which classical music receives to its being ‘all the rage.’ [See separate event entry of 09/01/73: Articles: Letters to the editor on popular music.] The history of the Central Park Garden concerts contradicts all this. When they were begun New York had had no place to visit where really good music well played could be listened to, and only a small part even of the most refined of our citizens were familiar with the works of older masters, while they were quite ignorant of the newest compositions. Nothing but a practical education of the public taste, brought about the production of the best compositions in the best manner, and where they could be listened too [sic] with no more restraint than would be demanded in a drawing room—smoking included, we may say with less—nothing else, we say, would have made such concerts as Thomas’s, given where his have been, successful and popular. And not only are they popular in summer, when other places of amusement are closed, but they have been crowded even when the cool air would naturally make indoor enjoyment preferable. Such an encore as the first part of the Beethoven symphony received last evening is evidence enough of the popular appreciation of such works.
Thus far Mr. Thomas has known only success, and he will have the best wishes of all lovers of music in consummating the plan of which we have seen but the beginning.”
11)
Lists program.
“It is only necessary to give the titles of these compositions, for everybody knows how superbly Mr. Thomas’s orchestra invariably renders them. Last night the execution seemed to be more perfect and the spirit of the band more magnetic than ever, and both in the music of Wagner and the joyous symphony of Beethoven its playing was marvelously sympathetic. The extracts from the ‘Meistersinger’ must be placed, we think, among the triumphs of the present season. The introduction and some other numbers have been heard here occasionally for several years, but the selections as we now have them, tenfold richer than the isolated pieces played for us before, were arranged by Mr. Thomas only recently. They convey a wonderful idea of the splendid opera, and in spite of their somewhat severe intellectual character and recondite meaning are thoroughly relished by the vast majority of every audience. The Introduction and Finale from ‘Tristan und Isolde’ are admirable specimens of Wagner’s most poetical style, and we were almost tempted to call them tender and graceful, although grace has been pretty effectually banished from all the composer’s later operas. For this attribute of beauty we must go back to ‘Lohengrin.’
The ‘Romance’ was exceedingly well played by Mr. Listemann, whose modest [illeg.] received from the audience a becoming recognition. The hall was densely crowded, and there was abundant enthusiasm all through the evening.
The season which has thus closed will be remembered by all frequenters of the Garden as the best of its kind Mr. Thomas has ever given. The orchestra has steadily proved ever since its organization, and this Summer has displayed a richness, vitality, fine coloring and delicacy of which we cannot speak with too much enthusiasm. The programmes besides have been unusually good. Not only has the proportion of classical music been very large, but the miscellaneous selections have been upon a higher plane than they used to be, and the general character of the concerts has been decidedly more intellectual. It is evident that Mr. Thomas has made a great advance in the education of the public, and that he can now secure appreciation for a kind of music which a few years ago would have hardly commanded listeners. In a pecuniary sense we learn that the present season has been even more successful than any of its seven predecessors.
The Winter tours of the Thomas Orchestra have been four in number, and lovers of music in the provincial cities will regret to learn that the next one is to be the last, Mr. Thomas purposing afterwards to devote his labors to New-York and Brooklyn, with perhaps a few excursions in the immediate neighborhood. For the tour of 1873-74, which is to begin in a few days, he has engaged Mr. Myron W. Whitney as vocalist. His orchestra, as it could not be much improved, will not be materially changed. It will consist of 8 first violins, 8 second violins, 5 violas, 4 violoncellos, 4 double basses, 1 harp, 1 piccolo, 2 flutes, 2 oboes, 1 Corno Anglais, 2 clarionets, 1 bass clarionet, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, 1 tuba, kettle-drums, side-drum, bass-drum, cymbals, &c., requiring a total of 54 performers. Two solo players are announced to make their first appearance—Mr. Heinrich Kavser, clarionet, from the Bilse orchestra in Berlin, and Mr. Rudolph Dargel, cornet à piston, from St. Petersburg. Negotiations are pending with several distinguished players, and the orchestra already commands the violins of Mr. Listemann and Mr. Jacobsohn, the harp of Mr. Lockwood, the flute of Mr. Weiner, the oboe of Mr. Eller, the French horn of Mr. Henry Schmitz, and the trombone of Mr. Coppa.”
12)
“A very fine performance at the Central Park Garden, last evening, brought to a close the series of Summer concerts supplied this year by Mr. Theodore Thomas. His band, upon the merits of which we have so often dwelt, interpreted a programme which included Beethoven’s eighth Symphony and several compositions of Wagner, with which the public, thanks to Mr. Thomas, had previously become familiar; and, in point of selections and rendering, the entertainment was proven to be a fit climax to the many delightful incidents of the eighth season. These we need not review, for they have had reference as they occurred. Much new music has been heard under Mr. Thomas’ bâton, the modern school having been especially well represented; and all the orchestral work has been done with a strict regard to tradition and taste, and with that untiring industry from which a finished execution such as that of Mr. Thomas’ musicians can alone result. It is pleasant to note that Mr. Thomas’ success has not been merely artistic. The eighth season has been even more prosperous than its predecessors and, in consequence, there seems a probability that from next Summer we shall have Mr. Thomas’ orchestra in this City, all the year round. Meanwhile the band departs on its Autumn and Winter tour. Mr. M. W. Whitney, a basso singer whose fine voice has been often admired here, accompanies Mr. Thomas, who will open, on Monday week, a new music hall in Chicago, and give there eight performances. Afterward he goes West, and returning to New-York toward the middle of November, will give the first of his symphony concerts on Nov. 22. We mentioned above that there seemed a chance of enjoying Mr. Thomas’ achievements not occasionally, but without interruption. Our belief is founded on the following passage from Mr. Thomas’ circular. Mr. Thomas says:
‘The desire to establish a permanent organization led to the experiment, in 1866, of the Summer nights’ concerts. The success of these concerts secured the permanency of the orchestra during the Summer months. To travel during the Winter then became desirable. The first Winter was fought through. The success of the second is known to all who interest themselves in music. It became then a duty to continue to travel, in view of the beneficial influences which these concerts brought to bear upon the whole country. The results of these four seasons, and the increase of the public taste for good music, could not have been more plainly shown than by the two musical festivals, last Spring, in New-York and Cincinnati, which at an earlier date would have been impossible. It is believed that the Thomas concerts have now made good music popular in the United States and given the people a musical standard, and it is hoped that to hear good music has become such a necessity that every city may secure men of talent and form organizations of its own, whether choral or orchestral. This point having been reached, the mission of travel is drawing to a close, and the last season of the Thomas concerts is announced.”
13)
“The hard-earned popularity of Theodore Thomas and his band of artists was shown in a signal manner last night at the 131st concert, which closed the season. The hall was crowded to excess, and many were obliged to sit out the concert in the garden, where, undaunted by cold or rain, they listened to the music. The evening was devoted to Wagner, whose principal works were rendered in that faultless manner that characterizes all the performances of this band. The following works were given:—[lists program]. As a welcome relief from so much Wagner, Mr. Thomas placed the delightful symphony, No. 8 of Beethoven, in the middle of the programme. The music prophet, who has caused such a commotion in the realms of art, and who has so many imprudent admirers and implacable enemies, has secured a valuable auxiliary in this country in the person of Theodore Thomas. All that there is of good in this ‘music of the future[’] is brought out in strong relief in all its wealth of rich or fantastic color and expression by the admirable corps of artists over whom Mr. Thomas wields the baton. The contrasts of style shown in the selection from ‘Tristan and Isolde,’ which is a perfect mine of rich, ever-changing harmonies, founded on simple themes, and the wild, eccentric measures of the ‘Walkuren,’ were vividly portrayed by the orchestra. The grandeur of thought which inspires the ‘Lohengrin’ vorspiel and the blatant pomp of the ‘Kaiser March’ were limned with equal power. But amid all this spectacular, so to speak, music, in which so many effects and so many wonders are congregated, how delicious was the Haydnish, childlike music of the Eighth Symphony. The playful measures of the second movement, sublime even in their simplicity, were given by this extraordinary orchestra with a delicacy of treatment and thoroughness and heartiness that called forth a tumultuous encore. And the young conductor, who has done more for real music perhaps than any one else in this country, was applauded to the echo by the vast assemblage.
Thus closed a season of classical music of which the proudest art centres [sic] in Europe might be proud. Mr. Thomas commences his fall and winter tour next week, opening at Troy on Monday evening. He inaugurates the new Music Hall in Chicago on October 6. [Continues to outline tour and soloists scheduled throughout it.]
During the past season a large number of new works were brought out for the first time, among them, Second Suite in canon form, Grimm; serenade in D, opus 11, Brahms; symphony, opus 7, Julius Zellner; symphony, opus 4, J. S. Svendsen; symphonic overture, Svendsen; Nordische Suite, Asgar Hamerick.
The remarks of the Programme are seasonable and just:—‘Besides these have been done entire the Fourth, Fifth (C minor)[,] Sixth and now the eighth symphonies of Beethoven, the First, Second and Third (Cologne) symphonies of Schumann, the greatest symphony of Schubert (in C), the greatest symphony of Mozart, the Jupiter, the most pleasing symphony of Mendelssohn (the Scotch), the ‘fur Walde’ of Raff, besides such works as the suite of Lachner. This is a summer season’s work on which audience as well as orchestra is to be congratulated. The gradual and steady progress of the garden concerts reminds one of Solon’s sayings, when he was asked if he had given the Athenians the best possible laws, and answered that he had given them as good as they would receive. Mr. Thomas, from the beginning of his career as a conductor, has given us as good music as we could hear. The programmes of this present season have been better than we could have heard patiently five years ago. We now hear them gladly. And this elevation of musical taste only intensifies the wish of New Yorkers, that the Thomas orchestra, which has already done so much for them, should have a permanent abiding place in New York.’”
14)
“On last Tuesday evening the long season of summer nights’ concerts, at the Central Park Garden, came to an end, and Mr. Thomas will depart in a few days to begin his fifth provincial tour, bearing with him the best wishes of all sincere music lovers, as well as of those who have attended the summer-concerts simply as a pastime. For, as it was the fashion years ago to speak slightingly of his earnest endeavors to gain a foothold in our unmusical country, so, now, he and his really wonderful orchestra are all the mode: praised alike by those who reason and by those who do not reason. That Mr. Thomas is the idol of the hour as well as the true friend of all music lovers, is shown by the tone of the city press in reviewing his work here for the past season. There is nothing but praise, if I except the remarks of an upstart weekly journal which upbraids him for a lack of respect for ‘the great dead,’ meaning Beethoven, Mozart, and others. How much respect it has for ‘the great dead,’ we learn from its recently published opinion of Schubert’s Symphony in C, which it finds ‘somewhat tedious on account of its great length.
Seriously, I do not see why Mr. Thomas should not play the compositions of Wagner if he chooses to do so, without suffering such imputations. Either there is something in this modern music or there is not. If there is anything in it we ought to hear it until we fully recognize its merits; if there is nothing in it, then let it be considered as a sauce piquante to impart an additional zest to our relish for the classical. Did you ever listen to a Beethoven trio immediately after hearing one of Liszt’s horribly discordant pieces? If you have done so you will understand what I mean.
The programme which Mr. Thomas selected for his farewell concert, or ‘grand Wagner night’ as it was called, on Tuesday evening last, furnished enjoyment to three classes of hearers, viz., those who like the music of the future, those who like classical music, and those who like both. [Lists program.]
The pieces from the 3d act of Die Meistersinger are selected and joined together by Mr. Thomas with much skill, to give as clear an idea of the opera as can be presented by the orchestra alone. I quote from the programme:
[‘]The third act opens with an instrumental introduction. The time is supposed to be the morning of “Johannistag” (St. John Baptist’s Day), on which festival a grand singing-contest is to take place at Nuernberg, under the auspices of the ‘Meistersinger.’ The prize to be awarded to the best singer is nothing less than the hand of fair Eva Pogner. Young Walther von Stolzing had, the day before, sung on trial before the guild an original love-song (Minnelied), with a view to being admitted among the contestants for the prize—being in love with Eva,— but in vain. In spite of Hans Sachs’ efforts he had been misunderstood and hooted down, and now, on the morning of ‘Johannistag’ the excellent old man is sitting in his shop—
“Hans Sachs was a shoe-
Maker and poet too.”
as the old song runs—sadly reflecting on the events of yesterday, and contriving how to help poor Walther’s case. At the close of the instrumental introduction (slow and very soft) a translation is made to a short movement in 3-3 time, suggesting the festive character of the day, and containing fragments of Walther’s unfortunate ‘Minnelied,’ which will yet win the prize for him. After the sustained chord at the close of his movement, we pass to a recitative by Hans Sachs (played by the Trombone) leading into the beautiful Quintet, which also contains reminiscences of Walther’s song. The end of the Quintet may be known by the dying away of the wind instruments, on very deep tones. Then follows orchestra music with occasional sounds of horns and trumpets, the whole giving an admirable picture of the assembling of the different guilds, trades, etc., and of the joyous uproar incidental to a popular festival. We are to suppose a large plain near Nuernberg, the scene of the contests, and as the Shoemakers, the Bakers, the City of Watchmen, the Toymakers, etc., enter in procession with banners flying and singing their characteristic songs, they are severally announced by flourishes of trumpets. The arrival of troops of young girls in holiday costume gives occasion to an improvised dance, which is at length interrupted by the announcement that the Mastersingers are approaching. The sound of trumpets is again heard, and we know that their pomposities are before us, when we hear the imposing and stately movement in 4-4 time which begins the “Vorspiel” (given us by Mr. Thomas in former concerts), and which Wagner frequently repeats during the opera to indicate this pedantic and exclusive guild. This moment (the intermediate numbers being omitted) is made to connect with the grand finale, representing the triumph of Walther, who wins the fair prize, and the ovation offered by the good Nuernbergers to their venerated fellow-citizen, Walther’s protector, glorious old Hans Sachs.[’]
The music from Tristan und Isolde has, according to the programme, a positive significance of some kind; but what that significance is it is difficult to determine. Der Ritt Der Walkueren is the most wonderful piece of descriptive music which I have ever heard. It depicts the ride through the air of those aweful [sic] and beautiful beings, the well-known Odins’ maidens, who presided over the battle-field and marked with their spear-points those heroes who were to fall in the fray.
Of the Symphony I need not speak; like the others from the same hand it is above criticism and beyond praise.
Mr. Listemann acquitted himself creditably and was warmly applauded. It was, however, generally regretted that he did not choose a piece more in keeping with the high character of the programme and the excellence of his performance.
The house was densely packed, the tables having been removed and chairs substituted, thus greatly increasing the seating capacity of the hall. The orchestra, which has played superbly throughout the season, seemed on this occasion to excel any effort it had ever made. Altogether it was a fitting close to a season which has been in every respect the most successful of the eight over which Mr. Thomas has presided.”
Concludes with a small list of works that were featured throughout the season and a brief overview of the forthcoming Thomas Orchestra tour, similar to that provided by the review in the New York Tribune.