Thomas Symphony Concert: 2nd

Program. Lists Joachim’s Concerto for Violin (“Hungarian”) to be performed by Listemann, but later advertisements indicate Spohr’s double concerto.

Program. Lists Joachim’s Concerto for Violin (“Hungarian”) to be performed by Listemann, but later advertisements indicate Spohr’s double concerto.

“…we shall have the new ‘Leonore’ Symphony of Raff’s, which Mr. Thomas played recently in Boston for the first time in America. It seems to have been keenly relished in the musical circles of Boston, and is said to be a work of very strong dramatic character.” Lists other works on program.

Program; lists Joachim’s concerto (advertisement of the same day in this paper lists Spohr’s concerto).

Lists Spohr’s concerto (advertisement of 12/21/73 and announcement of same day give a concerto by Joachim instead).

“We have to correct one line in the programme for Mr. Thomas’ second and highly-promising symphony concert, which may be attended at Steinway Hall to-morrow evening. Instead of Joachim’s ‘Hungarian’ concerto, to be played by Mr. Bernhard Listemann, that gentleman and Mr. S. F. Jacobsohn will interpret a concerto for two violins, by Spohr.”

Announces Joachim concerto.

“To-night, at Steinway Hall, Theodore Thomas will give his second Symphony soiree. As Mr. Listemann has hurt his hand, he will not play a solo from Joachim, as originally intended, but his place will be supplied by Messrs. Arnold and Jacobsohn, who will perform Spohr’s concerto for two violins. The new symphony by Raff is founded on Burger’s ballad ‘Leonore.’”

Brief. “The theatrical week just ended was not remarkable for novelty or activity, and that now commencing will hardly be more notable. The bad weather, of course, exercised a disastrous influence upon the receipts of all the places of amusement, but this period of the year is rarely prosperous. [Opera review.] [I]n the evening the second of Mr. Thomas’ symphony concerts—to the incidents of which we shall refer tomorrow—was also largely attended.”

“The New York public gave, last evening, a very significant expression of the high esteem in which they hold the eminent services of Mr. Theodore Thomas in the cause of music and of their appreciation of his unequalled orchestra. Notwithstanding the horrible state of the weather—and a more unpropitious night could scarcely be selected—Steinway Hall was absolutely crowded, even to the second gallery, and Fourteenth street and Irving place were filled with carriages. It was, indeed, an ovation to the young maestro such as is rarely tendered by any public. [Lists program.]

The symphony was the chief attraction, both on account of its novelty and the high reputation of the industrious composer, whose pen never seems to tire. Mr. Thomas received it a short time since from Germany and presented it for the first time in New York last night. The indefatigable composer, it is said, is now at work on a sixth symphony, without ceasing for a moment from his arduous labors. The symphony under review is a work of such magnitude and differs so materially from either its predecessors or the other symphonic productions of the modern school than an absolute opinion of its merits after a single hearing would not be a just one. Purists may censure the many departures from the strict symphonic forms which occur in this work, and yet many will be willing to pass over such on account of the grandeur of the effects even in those wanderings from the symphonic highway. Whatever may be the erratic character of the treatment of the various themes at time, and the startling contrasts and the elaboration of the subjects almost to a degree of tiresomeness, the splendor and richness of the instrumentation call for nothing short of the heartiest praise and admiration. Gottfried Beurger’s well-known ballad, ‘Leonore,’ which furnished Sir Walter Scott with materials for one of his famous works, forms a fundamental subject for the symphony. The very divisions, as given in the programme, indicate a noble theme for any musician.

The first part, ‘Happiness in Love,’ illustrates in the beginning, allegro, the passionate feeling of love, and in the andante the calm of a pure, noble affection. The music in those two movements is the best in the symphony. The joyous, brilliant character of the allegro, with its showy episodes for the reed instruments, shows the great vitality of the work. There is life and ‘go’ in this movement from first to last. And the execution—it was simply wonderful. There is not a laggard in this orchestra. The first thing that strikes the ear is the nervous power and precision of tone of the strings. The diminuendos and crescendos of the violins, and the strong, decided expression of the celli and basses gave such an effect to the movement as it would be vain to hope for from any other orchestra. The lovely andante is a perfect idyl, in which glimpses of beautiful forms and vistas of calm scenes of happiness are revealed in a minor key, with a singularly beautiful figure for the basses. Peace returns to the lover’s heart, and the last strains of the andante are so delicate and tender that the very instruments seem to sigh, and at the concluding chord ‘there was nothing ’twixt it and silence.’

The second part, ‘Parting,’ is a military march, indicative, probably, of the departure of the lover to the wars. It begins with a curious pizzicato of the violins, which gradually leads to a magnificent climax in which the effect is absolutely overpowering. Interludes of a tender character typify the anguish of parting, and are broken in upon with boisterous fury by the thunder of the march with its triangles, cymbals, drums, et id omne genus.

The last part, ‘Reunion in Death,’ is a large work in itself. The themes of the preceding movements crop up occasionally, and the despair of Leonore for the loss of her lover is vividly portrayed. The work grows weird and chaotic towards the end until the short andante cantabile, for the strings brings [sic] this remarkable work to a close. In this movement there is considerable straining after effect, not always successful, but there are also lovely effects and themes of spiritual beauty. It is a work that will command the attention of every musician.

The Spohr concerto, immensely difficult as it is and equally effective, was given with an effect that proved the talents of the two virtuosi. The septet was another surprise, and the works of Schumann and Berlioz gave the orchestral fresh opportunities to achieve a triumph. Such a concert is worthy of the director, his orchestra, the composers and the public that so nobly responded to an invitation to such a feast of music.” Lists program for concert scheduled on January 3, 1874.

“The second of Mr. Thomas’ Symphony Concerts took place at Steinway Hall on Saturday evening. An interesting programme was interpreted, and, as usual, an orchestral performance of the highest order was enjoyed. The most important number of the bill was ‘Leonore,’ a new symphony by Joachim Raff, and the fifth of a series of which ‘Im Walde’ is, in this country, at least, the most widely known and generally admired. From the miscellaneous compositions of Herr Raff, we are inclined to think that he is more ingenious than original, and more brilliant than profound. Prolific he certainly is, for he has contributed to the music of the day works of every kind, and his skill as a writer for all instruments is almost as clearly demonstrated by his piano writings, his chamber pieces, and his productions for orchestra as his fecundity. We do not consider that in ‘Leonore’ Herr Raff is as successful as in ‘Im Walde.’ There is a wide difference between the illustration of impressions and that of emotions, and music can far more readily paint the eloquence of a forest scene than convey the meaning of the abstract ideas of ‘Happiness in Love,’ ‘Parting,’ and ‘Reunion in Death,’ under which heads Herr Raff classes the several movements of his symphony. To this hour the significance of many of Beethoven’s finest achievements is quarreled over by the partisans of programme-music, while most people are content to listen to them without seeking to bind them to texts. Herr Raff is in our judgment a trifle rash in treading upon ground over which even Beethoven has not always passed triumphant. It is nevertheless to be conceded that in some respects ‘Leonore’ is a beautiful work. The instrumentation of the new symphony is sufficient to commend it to wrapt [sic] attention. Herr Raff is a master in the art of writing for orchestra; his scores have the full sonority requisite at a period at which Berlioz, Wagner and Liszt have made simplicity—unless it be the simplicity of Beethoven—intolerable; and he is more fertile in happy instrumental combinations than any one of his contemporaries. ‘Leonore’ is a mosaic of exquisite variety of coloring, but still only a mosaic. Mr. Thomas’ band, which is equal to the exposition of far more intellectual compositions, supplied, as was expected, a faultless rendering of the novelty. In the tutti his musicians played like a single performer; in the passages in which the strings, the wood, and the brass are alternately concerned, the entrées were executed with mechanical precision; and throughout the recital the shading was of the nicest sort. The second movement of ‘Leonore,’ an andante quasi larghetto—a movement conspicuous for its exquisite theme—showed to particular advantage the proficiency of the violins, whose phrases sounded as though drawn from a huge violincello by a giant bow. A great deal of applause followed the interpretation of the symphony, which, with the vigorous overture to Schumann’s ‘Bride of Messina,’ which prefaced it, and a concerto for two violins, by Spohr, constituted the first part of the programme. The concert, one of those suave compositions which demand powers of expression rather beyond those possessed by most modern violin players, was neatly delivered by Messrs. Jacobsohn and Arnold. The second portion of the concert was occupied by an exquisite reading of Beethoven’s septet and by a suitably fanciful performance of ‘Le Carnaval Romain,’ by Berlioz.” Announces program for next concerts.

“Mr. Thomas’s Symphony Concert, the second of the present series, drew an excellent audience to Steinway Hall on Saturday evening, notwithstanding a terrible storm of snow and rain. The programme abounded in attractions for cultivated musicians, but it contained very little which the general public knew anything about, and it would not have been strange if under the discouragements of the weather there had been a very slim attendance. As it happened, however, the novelties found immediate and enthusiastic appreciation from listeners of every class, and the concert may be described not only as an intellectual festival, but as a brilliant popular success. [Lists program.]

Raff’s music is more fruitful of [illeg.] intellectual satisfaction—if he were a younger man we should call it fuller of promise—than that of almost any other living writer of symphonies and works of a similar character; Rubinstein, perhaps, excepted. He has evidently been a close student of classical models, and he has caught from the modern school a great deal of its characteristic freedom of spirit [sic] and fondness for striking picturesque effects; and yet he is an imitator of neither. He cannot be classed with the disciples of Liszt and Wagner; he is not admitted not the stately company of the older masters. He holds a place of his own. We do not recognize in him, as yet, the indisputable evidences of genius; yet he has developed an extraordinarily rich talent in a great variety of directions, and all his work is adorned with elegant fancies and a fine taste. If it never strikes us as highly original in its conception or novel in its modes of treatment, we can never lay our finger upon any particular passage and say that this is a theft, or a reminiscence, nor can we complain that the ideas are hackneyed. Though they may not be absolutely novel, they have a certain air of freshness which may pass for novelty. The ‘Leonore’ Symphony is a new work, and was played for the first time in America at one of Mr. Thomas’s recent concerts in Boston. It is rather a ‘tone picture’ than a symphony of the old fashioned kind, and like the ‘Im Walde,’ it is divided into three parts, each distinguished by a characteristic title—Liebensgluck (‘Love’s Happiness’), Trennung (‘Separation’), and Wiedervereinigung im Tode (‘Reunion in Death’). The whole work is of course inspired by Bürger’s famous ballad from which it derives its name; but it is only the third part which is properly speaking illustrative of the poem. Part First begins with an allegro movement remarkable for clearness of motif and vigorous [illeg.], a movement full of vitality, though it can hardly be and to suggest very distinctly the bliss of love which the whole first division is supposed to symbolize. A much more characteristic spirit breathes through the second movement of this part, an andante quasi larghetto, which is like a soft poetic reverie, worthy to match with the favorite reverie in the ‘Im Walde’ symphony. The close is an exquisite diminuendo, which Mr. Thomas’s orchestra executed with marvelous grace and softness. Part Second bears a much stronger impress of Bürger’s poem than Part First. It consists of a bright and fascinating march which begins with a charming pizzicato passage, and rises through many changes of instrumentation and ingenious combinations to a superb triumphal outburst, with blare of trumpets and the pride of martial strains. Whether it depicts the departure of the knightly love,

–‘with Richard’s host,

The payn in foes to quell,’

or the return of the soldiers without him, as described in the opening stanzas of the ballade, we need not too curiously inquire. Probably it is not intended to describe any incident exactly; it only embodies the suggestions awakened by the story; the descriptive portion of the symphony is Part Third, consisting according to the text of an Introduction and Ballade so closely interwoven as to form one movement. Here we have first a soft reminiscence of the march, and then a wonderful representation of the ghostly rule, as Leonore and her skeleton lover gallop on—

‘Tramp, tramp across the [illeg.] they speed.

Splash, splash across the sea,’

gibbering faces of the dead peering out of the night, unearthly forms circling about their path, with noises and ‘dingy songs’ resounding through the forest, and spectral mourners following the shadowy heir before them. The tramp, tramp is represented throughout this effective movement by the bass strings. There was evidently a great temptation set in the composer’s path in the description of the supernatural incidents, but he has not been betrayed into the grotesque, and through all these weird, uncanny scenes he has confined himself to devices that are strictly and legitimately musical. The concluding passage is a solemn religious strain, which opens beautifully, but disappoints one a little at the last. Our judgment of the symphony as a whole must be highly favorable. It shows an advance over Raff’s previous work, the ‘Im Walde,’—an a Ivanoe [sic] in the direction of greater vigor, greater fertility, and perhaps more thorough polish. The manner of the performance of course left no excuse for fault-finding, and any composer might feel grateful for so precise, so vigorous, and so sympathetic an interpretation. Not only in the symphony, but in Schumann’s bold and unfamiliar overture, in the picturesque ‘Roman Carnival,’ of Berlioz, and in the three well-known movements of the Beethoven Septet, in which the parts for each instrument are de[illeg.] to the full strength of the hand, the playing of this magnificent orchestra was grand beyond all praise

The Spohr concerto is a melodious and graceful composition which evidently pleased the audience, beside affording a good opportunity for displaying the abilities of two of the best members of Mr. Thomas’s company. They both performed their task with ent[illeg.], and with a mutual sympathy of touch and feeling which are very unusual. Spohr’s sweet and sensuous strains cloy the edge of appetite quicker than any other music of equal merit ever written; but the execution of it was so fine on Saturday that the audience retained their relish for it to the very end.”

“Raff’s new symphony ‘Leonore’ was the prominent feature of the Thomas symphony concert at Steinway Hall on Saturday night. It is a brilliant, picturesque and highly elaborate specimen of orchestral writing, and would have been much better comprehended had the programme contained a few intelligent words of explanation in regard to the work. The first movement was received with great applause. The andante, which includes a notable passage in a melody for horn with flute accompaniment, closes with a marvellous [sic] diminuendo in which the thorough training of Mr. Thomas’s band was admirably shown. The next movement is a well-constructed march, in which, also, the crescendo and diminuendo effects were carefully studied. The closing of this remarkable symphony is striking and original, and the entire work, which occupied about forty minutes in the performance, was one of the most signal successes of which the Thomas orchestra [sic] can boast. No doubt the work will find a permanent place in their repertoire, while it will certainly go far towards popularizing the name of Raff.

A Beethoven septett [sic] and a Schumann overture both received excellent treatment, and the concert closed with Berlioz’s brilliantly tumultuous ‘Roman Carnival’ overture. A word of praise is due to Messrs. Arnold and Jacobsohn, two members of the orchestra, who played in a neat and finished manner a concerto by Spohr for two violins.” Gives program for the next concert.

 “The second of the series of six symphony concerts which, next to the Italian opera, are the most notable musical events of which we have any promise for the present winter, was given on Saturday evening at Steinway Hall. The audience was very large, and of that class of musically inclined persons who used to frequent the Philharmonic concerts in the better and more palmy days of that society, and who now have so completely and with wisdom of choice transferred their allegiance to Theodore Thomas. Indeed, it would seem as though both the professional and the amateur element collected itself at these Thomas concerts by common consent, recognizing them as the highest and best exponents that we have of instrumental art.

[Provides program.]

It is scarcely necessary to dwell on the character of the orchestral work. It would be merely to recapitulate the qualities with which Thomas has labored with such patience, enthusiasm, and consummate ability to endow his musicians, and which are the embodiment of all that is requisite to constitute the faultless orchestra. The lesson has been fully learned, and those fresh from the recollections of those performances, and who have recently attended the concerts of the famous Gewandhaus Society, do not hesitate to affirm that here we have with us an orchestra to be listened to with even a fuller measure of admiration and delight.

The smooth, suave concerto by Spohr was substituted at a late hour for another that Mr. Listemann was to have played but for a somewhat disabled hand. The two solo performances were Messrs. Arnold and Jacobsohn, and it was a striking proof of the high standard of excellence of the body of the orchestra that two such players could step out from the violin ranks at short notice to perform so large and difficult a work with evenness, delicacy and exquisite finish.

The symphony by Joachim Raff was, of course, the central point of interest upon the programme, partly because of the magnitude and importance of the work itself and partly on the account of the increasing attention that is being given to the meritorious works of this composer. It is divided into five movements, grouped under three subdivisions, severally entitled ‘Happiness in Love,’ ‘Parting and Reunion in Death.’ The work is founded upon Bürger’s ballad of ‘Leonore,’ and the symphony bears that name. An outline of the poem, which could have been given on the programme in a few words, would have materially assisted in the comprehension and enjoyment of the symphony. The weird story, as Bürger tells it, relates how William, the beloved of Leonore, has gone to the wars in Hungary. The victorious army returns, but not the lover. Leonore gives herself up to despair, curses God’s injustice, and prays for death. This comes in the most unexpected form, for at dead of night arrives the bridegroom on horseback and in armor, and bids the bride mount behind him to go to the marriage. She obeys, and at a fierce gallop they fly over field and through woods till they come to the far off grave. There the lover dismounts, the visor is raised, and under the coat of mail she sees the ghastly skeleton of the dead soldier with whom she has ridden all unconscious that he was but the ghost of her beloved. The horse vanishes, the dead dance about them with fearful cries, and the lovers descend into a common grave.

Raff has made fine use of the material afforded by this powerful ballad. He has amplified it somewhat, for the poem says nothing of Love’s happiness, but begins with the despair of Leonore and with that sad burden of grief—

O mutter, mutter, hin is hin,

Verloren ist Verloren.

The symphony impressed us as a noble work of great and sustained power, and as being an admirable musical illustration of the theme, being especially strong in the expression of the fierce emotions of its conclusion. It belongs to the romantic school, and though built in part on the old symphonic models, it is very evident that its composer has felt the influence of Wagner and the leaders of the modern school.

What, in his Forest Symphony, Raff did for external nature, in this work he has done for the inner experiences. But though dealing with those phases of human life that relate to love, sorrow, and death, he is never morbid. His thoughts are clear and beautiful. If there is such a thing as the rhetoric of music, Raff has it. His writing is smooth, graceful, and elegant, and his imagination, as displayed in the orchestral color that he gives to his thought, is brilliant and varied. Though long, the interest of the symphony does not flag in any part, and on the whole it will add materially to the reputation of its gifted composer.

To those who find in these symphony concerts a somewhat more elaborate class of music than they care to encounter, it will doubtless be a pleasure to learn that Mr. Thomas will commence on Saturday afternoon of this week a series of matinees of a more popular character.”

“In concerts we have been singularly favored since my last letter, I mean in quality not quantity. Mr. Thomas’s second Symphony Concert came on Saturday evening, Dec. 27th, when the following programme was interpreted to a large and appreciative audience. [Lists program].

Spohr’s long and difficult Concerto for two violins was substituted for a Concerto by Joachim, which was to be played by Mr. Listemann, who was prevented from performing it by a slight injury to his hand.

Raff’s new Symphony was the most interesting feature of the programme. It is difficult to form a distinct impression of this work from one hearing, but it is safe to say that the admirers of the ‘Im Walde’ Symphony wert [sic] somewhat disappointed in the new one. It is, however, a work that requires very careful hearing. The performance was without a blemish, and the diminuendo at the close of the Andante was a good instance of the marvellous [sic] perfection to which this orchestra has attained. One of the New York papers, last week, contained an article criticizing Mr. Thomas somewhat sharply for what it calls his ‘desecration of Beethoven’ in arranging the great Septet for a ‘full orchestra.’ The writer of the above named criticism seems to be somewhat confused in his idea. The Septet is not arranged for a ‘full orchestra’ as he states, but for two clarionets, two horns, two bassoons, and all the stringed instruments, (such, at least, is the usual arrangement). Furthermore the article seems to imply that Mr. Thomas is the originator of this method of treating chamber music, while the truth is that this septet has been played, in precisely the same way as described above, for many years at the Popular Concerts given by M. Pasdeloup in Paris, and also at the Conservatoire where this manner of performing it originated, I believe, as far back as the time of Habeneck. The critic should remember that Steinway Hall is not a fit place for Chamber music unless the music be amplified, and that ‘desecration’ and ‘sacrilege’ are strong words when applied to an arrangements [sic] which preserves the original score intact, increasing only the volume of sound.

A. A. C.”