Includes program.

Includes program.

“A matinée concert of great attractiveness drew to Steinway Hall yesterday a large gathering of dilettanti and pretty faces. It was supplied by Mr. Thomas’ orchestra, with the co-operation of Mr. Whitney, the well-known singer. A liberal programme was interpreted, and, what is more to the point, interpreted to perfection. We are not constrained to allude to all its elements, for all the selections had been heard before, but can justly declare that the orchestra recited the thirteen numbers allotted to it with the absolute precision and the rare variety of tempo and shading referred to with admiration in these columns, time and time again. The principal orchestral selections were [lists works]. Mr. Whitney sang with considerable dignity of voice and style, ‘In diesen heil’gen Halle,’ from ‘Die Zauberfloete,’ and with fluency and correctness, but less clearness of enunciation than Mr. Santley accustomed us to, ‘O, Ruddier than the Cherry,’ the recitative preface to which was especially unsatisfactory on the account mentioned. An aria by Bach was neatly played on the violoncello by Mr. Louis Luebeck, and an exceptionally good harp performance—which was redemanded—was enjoyed at the hands of Mr. A. Lockwood.”

“Steinway Hall was well filled yesterday afternoon, and the initial matinée of Mr. Theodore Thomas was so successful that there is little doubt of similar good fortune attending the rest of the series. The programme consisted of the choicest selections from the immense répertoire which Mr. Thomas has at his command, and comprised the following works [lists works].

Mendelssohn’s fairy music and delicious illustration of the fanciful scenes created by the Bard of Avon lost nothing of its dreamy, translucent beauty in the interpretation of the orchestra. The plaints of the lovers, the twitter of the birds, the chatter of the elves, the half-disclosed roguery of Puck, the glow of the slumber music, the hearty, broad humor of Bottom and his companions, and the stately and sparkling character of the march were given with that exquisite finish that it would be vain to hope for from another band. That chef d’oeuvre of elfin life, the G minor scherzo, was handled as delicately as if Puck himself held the baton. It was, indeed, a glimpse into fairy land, without the materialism that the exigencies of the dramatic stage demand. The work of Liszt appears to better advantage in orchestral form than for the piano. It was made popular in New York through the playing of Rubenstein [sic], Mills, Miss Mehlig, Miss Krebs and Miss Topp; but in its present rich attire, sparkling over with those gems of orchestral effect that Liszt possesses in such lavish store, it is more brilliant than ever. The ancient spirit of Magyar chivalry and splendor breathes in every measure, and in the restless rush of the finale, the impetuous daring of the Paladins of Eastern Europe is vividly illustrated. Beethoven’s great work—the most difficult, probably, of the four overtures written by him for his opera, ‘Fidelio’—showed the perfection of the stringed instruments, to which the largest share of the labor is entrusted, of Thomas’ orchestra.

The ‘Tärumerei’ was encored, as it never fails to be when presented by such an orchestra. We have already described the effect of Berlioz’s fairy work, so light and ethereal as to deserve a place beside the G minor scherzo of Mendelssohn. It is a mosaic of delicate fancies, such as elfin hands would weave. The soloists were worthy of the concert. Mr. Whitney’s two selections were rendered with the intelligence and expression of a thorough artist. His interpretation of the grand aria of Sarastro, ‘Qui sdegno,’ evidenced the richness and compass of his voice, and Handel’s aria, the strange love-making of Polyphemus, a Cyclopean tribute to Cupid, was sung with the ease of a Santley. Mr. Lubeck’s violoncello playing has both breadth and shading of tone, and we have not had here for many years such an eminent virtuoso on the harp as Mr. Lockwood.

When the strains of the ‘Pilgrim’s Chorus’ in the ‘Tannhäuser’ overture announced the conclusion of the concert there was a feeling of regret or of unwillingness to leave such a feast of music. Rarely has a programme of such a noble character, and interpreted with such artistic skill, been offered to any concert audience.”

“The matinée concert given by Mr. Theodore Thomas on Saturday at Steinway Hall was so brilliantly successful that we trust he may be encouraged to give many similar entertainments during the course of the Winter and Spring. There was an excellent audience and a great deal of enthusiasm was manifested over the following well made programme [lists works].

There was nothing in the selections for the orchestra but what we have heard from the same band many times before, and yet the manner of the performance seemed to make everything fresh. The ‘Midsummer Night’s Dream’ music, which was so keenly relished at the Garden Concerts last Summer, acquired a new beauty and grace heard under conditions so much more favorable in Steinway Hall. The Overture and Nocturne were deliciously delicate (how perfect especially was the horn-playing in the Nocturne), while the Scherzo and Intermezzo brought out the superb drill and wonderful intonation of the orchestra, until even the oldest admirers of Mr. Thomas stared with amazement. The Liszt ‘Rhapsodie’ fairly blazed with splendor, and in the great ‘Leonora’ overture, the ‘Queen Mab’ Scherzo, and the ‘Tannhäuser’ overture it seemed to us that we reached the ne plus ultra of orchestral music. The cornet in the latter part of the ‘Tannhäuser’ overture surpassed everything of the sort we ever heard. It is hardly necessary to say that the ‘Träumerei,’ so long absent from Mr. Thomas’s bills, was cordially welcomed again, and it was followed by the Haydn ‘Serenade’ as an encore. Mr. Whitney was in admirable voice, and Mr. Lockwood gave some remarkably fine exhibitions of his skill and taste on the harp. Mr. Lubeck, the violoncellist, plays like an artist, and is a valuable acquisition to the company.”

“Mr. Thomas on Saturday afternoon gave a concert at Steinway Hall. The performance, without being brilliant, was even and satisfactory in every respect. Mendelssohn’s ‘Midsummer Night’s Dream,’ Beethoven’s ‘Lenore, No. 3,’ Schumann’s ‘Träumerei,’ Berlioz’s ‘La Reine Mab’ and Mr. Whitney’s air from ‘The Magic Flute’ were the pleasantest features of the programme. Mr. Lockwood’s performance on the harp met with great acceptance from the audience. Mr. Thomas on this occasion offered no musical novelties, but the familiarity of the audience with the pieces played in no wise diminished the pleasure of listening. Encores were responded to by the orchestra after playing Schumann’s ‘Träumerei,’ by Mr. Whitney after singing ‘O, Ruddier than the Cherry,’ an air in which Mr. Santley, while in this country, often displayed his admirable method, and by Mr. Lockwood after playing a fantasie for the harp by Godefroid.”

“New York.—Two popular matinées are included in the Thomas scheme for the winter. The first of these took place at Steinway Hall on Saturday afternoon, Jan. 3d. The price of the matinées is fixed at one dollar, with fifty cents extra for reserved places. The programme was lighter than at the evening concerts, preserving, however, the high character which Mr. Thomas always strives to maintain in his selections.

First on the list came Mendelssohn’s ‘Midsummer Night’s Dream’ music, played with wonderful exactness and perfectness from Overture to March. Then Mr. Whitney sang ‘In diesen heil’gen Hallen’ from the ‘Magic Flute.’ Mr. Lubeck, of whose admirable violoncello playing I have spoken in former letters, followed with a Canzonetta of his own and an aria ‘In Giorni’ by Pergolese[i]. Liszt’s second ‘Rhapsodie Hongroise,’ which, arranged for the orchestra, has become quite a favorite, ended part first of the programme, and was embellished with a beautiful cadence for the harp, by Mr. Lockwood.

Part second opened with the Leonora Overture No. 3, followed by Schumann’s ‘Traeumerei.’ As an instance of the total depravity of inanimate things, let me state that, when Schumann’s lovely tone poem had fairly taken hold of the hearers, and the soul was almost rocked to sleep by the muted violins, some horrible combination of steam and iron imprisoned in a gilded cage near the orchestra, began rattling and thumping as though animated by the spirit of discord. This interesting performance was kept up until the end of the piece, and its effect upon the delicate pianissimo passages may be imagined. The ‘Träumerei’ ended, the imprisoned demon became quiet and was heard no more. (Those who are posted in such matters say it was ‘only’ water in the radiator). The other pieces were a Fantasie for the harp by Godefroid, played by Mr. Lockwood, who received a well merited encore; the air ‘O, ruddier than the cherry’ (Handel) sung by Mr. Whitney, who also received an encore; the scherzo ‘La Reine Mab’ by Berlioz, and the glorious Tannhäuser overture.

The next matinée will take place…One great advantage which Mr. Thomas has over other conductors lies in the fact that when he wishes to increase the number of performers he can, and always does secure, for that purpose, old members of his orchestra who have often played under his direction.

I believe there is no place in the world where good music, as well rendered as at these concerts, can be heard for a sum so moderate; the subscription price of one ticket, to the six Symphony Concerts, being only eight dollars, and the price of a single ticket with reserved seat, two dollars.   –A. A. C.”