Central Park Garden Concert

Opening night of the 7^th season; includes program. 

Includes program. 

“Theodore Thomas had a royal welcome last night, when he brought back his orchestra to the Central Park Garden for the seventh season of his Summer Concerts. An immense audience was in waiting, and when he came upon the stage he was hailed with hearty and prolonged applause. Somehow, after the event of the past Winter, he seems to present himself before us crowned with greener laurels than ever. Various causes have combined to win for Mr. Thomas of late a more general recognition throughout the country, and to kindle in New-York especially a warmer enthusiasm for the work in which he is engaged. In some degree this improved appreciation is attributable to the constant improvement in the orchestra, but it is mainly the result of those advanced standards of public taste and that rapid diffusion of musical knowledge for which we are so deeply in his debt. So it happens that every year we relish his work more keenly because we understand it better—that every year brings us, we may hope, nearer to the realization of the scheme which he has so long had in view, the establishment in this city not only of a permanent orchestra but a permanent chorus in connection with it, a proper building for the accommodation of the double organization, and then the worthy production of what the programme of last night calls ‘the symphonic drama , the supreme type of musical art.’ If we would mark what progress has been made in New-York, we have only to make a comparison of programmes. What would have been thought five years ago of a ‘popular concert’ made up of selections such as we had last night? The first and second parts contained Weber’s Jubilee Overture, the finale from Beethoven’s ‘Prometheus,’ selections from the third Act of ‘Lohengrin,’ Schubert’s ‘Fierabras’ Overture, a Meditation by Gounod, the Minuet from Mozart’s great E flat Symphony, and the now familiar Rhapsodie Hongroise. Every one of these pieces was received with lively demonstrations of pleasure, except perhaps Schubert’s rich overture, which had less applause than it deserved. The selections from ‘Lohengrin’ embrace the Introduction to the third Act, the Wedding Chorus, and the grand March which accompanies the assembling of the army in the last scene of the opera. The execution of this number was perhaps the most superb thing of the evening. The ‘Meditation’ of Gounod’s is a charming tender little piece, originally written for a solo violin with orchestral accompaniment. Mr. Thomas uses ten violins in the solo part, and the effect, in a place like the Central Park Garden, is certainly admirable. The playing was exquisitely delicate and sympathetic.”

“The concert season at the Central Park Garden was entered upon most auspiciously last evening. Mr. Thomas’ splendid orchestra was in its accustomed place and its wonted form, and the assemblage gathered to enjoy its first Summer entertainment was at least as large and as brilliant as any brought together on the palmiest nights of by-gone years. A prosperous series of performances has undoubtedly begun. Were the prospects less encouraging, we should think ill of the taste of the New-York public. In no city in the world are finer orchestral recitals to be listened to than Mr. Thomas’ band supplies, and nowhere is there to be found a fitter local than the place which Mr. Thomas makes his Summer abode. Yesterday’s concert was marked by all the agreeable features of old. Mr. Thomas was welcomed to the conductor’s stand with great enthusiasm, and the faultless and sympathetic interpretation of each and every number of the programme elicited hearty applause. Two new pieces were part of the bill, a ‘meditation’ by Gounod, very sweet and chaste in sentiment and clear and rich in treatment, and a pretty waltz—‘Carnavalsbilder’—by Strauss. Besides these compositions, a capital selection from the regular répertoire of Mr. Thomas’ forces was heard. Some passages from ‘Lohengrin’ were delightfully executed; the allegretto from Mozart’s symphony in E was admirably rendered both in point of spirit and precision, and the remarkable delivery of the second ‘Rhapsodie Hongroise,’ so often adverted to in reference to the concerts given this Winter by Mr. Thomas, was repeated. Beethoven, Mendelssohn, Meyerbeer, Schubert, and Auber were also represented on the bill. The programme of the Central Park Garden, we have only to add, is changed nightly, but the standard of excellence is always the same.”

“Everybody who promises to take an interest in orchestral music in this city was at the Central Park Garden last night, to welcome the return of Theodore Thomas to the spot so pleasantly associated with his name. His appearance on the platform was, of course, greeted with hearty applause, and during the entire evening the energetic young conductor was made to feel that he was among friends.

The programme for last night was unusually rich and varied, including two compositions new to our public, and a number of favorite works, with which the admirable orchestra of Mr. Thomas has familiarized us. Weber’s ‘Jubel’ overture opened the tuneful list, and was followed by a graceful Strauss waltz and by an extract from Beethoven’s ‘Prometheus.’ A portion of the music of the third act of ‘Lohengrin’ (including the wedding chorus) was received with the most marked favor, showing the constantly increasing popularity of Wagner’s compositions.

In the second part a decided sensation was created by the exquisite rendering of a new ‘Meditation,’ by Gounod, which had to be repeated. It is a most charming composition, and must become one of the most popular numbers on the Thomas programmes. In the third part a new waltz—‘Carnevalsbilder---by Strauss attracted some attention by its graceful rhythm.

Among other selections of last evening were Schubert’s ‘Fier-a-bras’ overture; the allegretto from Mozart’s E flat symphony, which received full justice; Liszt’s Rhapsodie Hongroise, No. 2, probably the best that he ever wrote, and executed in a style to defy criticism; the Nocturne from the ‘Midsummer Night’s Dream’ music, and the overture to ‘Masaniello.’”

“Nothing can be more welcome to the New York public than the announcement of the opening of Theodore Thomas’ concert season at Central Park Garden. The first concert took place last evening, and was so numerously attended that there was considerable difficulty for late comers to get even tolerable moving room. The reputation of this unapproachable orchestra and the classic character of the music, united to careful management of affairs apart from the music, have long ago made the Central Park Garden concerts fashionable as well as popular. One meets generally at those concerts the same kind of audience as at the opera, Wallack’s or Daly’s, and the most respectful attention is shown during the performance. While the experienced baton of Thomas guides the orchestra the skill and tact of Mr. J. Gosche is brought into requisition to make the garden otherwise enjoyable. The programme of the opening concert comprised some of the best known and some of the choicest morceaux in the illimitable répertoire of the American Costa. Opening appropriately with the ‘Jubel’ overture, followed by a seductive waltz of Strauss and a delicious waif of ballet music as Beethoven conceived it, we were regaled by the best orchestral numbers of ‘Lohengrin’—the opening of the third act, with its magnificent introductory march and the bridal chorus—all glowing with fire and dramatic spirit. In the second part of the concert there was the overture, ‘Fier-a-bras,’ of Schubert, a most delicious meditative by Gounod, for violin solo and orchestra, which was instantly redemanded, Mr. Listemann’s playing being particularly effective, the ‘Allegretto’ movement from Mozart’s E flat symphony and the fiery Hungarian Rhapsody, No. 2, of Liszt. It were alone worth a trip to the garden to hear the orchestra play this last mentioned work. Selections from ‘The Huguenots,’ another characteristic Strauss waltz, the lovely Nocturne from ‘The Midsummer Night’s Dream’ and the overture ‘La Muette de Portici’ made up the last part of the programme. It was a thoroughly artistic performance throughout and gave sufficient ground to expect a season of real enjoyment at this beautiful garden.”

“New York, May 25. A low standard of musical art, in a cosmopolitan city, like ours, in which a large proportion of the population is German, cannot long continue, provided there exist the means, accessible to all classes, of hearing frequently orchestral compositions of a higher order adequately performed. A few years ago such opportunities did not exist here.—We had but one orchestra, that of the Philharmonic Society, and their concerts, given to the favored few, were, for a long time, without any appreciable effect in raising the general standard of musical taste. The orchestra played year after year, to the same audience; undoubtedly it accomplished much good, but the doors of the Academy must of necessity be closed to many, and work was needed outside of the small circle within which the influence of the Philharmonic Society was confined. Theodore Thomas, in his Symphony Concerts, worked in a larger sphere, and as the public became somewhat familiar with the new world of orchestra composition which he opened to them, it soon became evident that there was room enough and work enough in New York for two full orchestras. Indeed, I believe I am justified in stating that the financial success of the N. Y. Philharmonic Society of late has been, in part, due to the stimulus given to public taste by its young rival. But something besides all this was needed and Mr. Thomas took the first great step toward the popularization of art in originating the garden-concerts. Such an enterprise, not to be quixotic, must be self-supporting and great discretion has to be exercised in arranging, for each evening, a programme which, while it interests the connoisseur in music, will, at the same time, prove attractive to those whose taste is entirely, or in a manner, uncultivated. To relieve that which some persons would call the tediousness of a classical programme, the Strauss waltzes are freely used and these, if trivial, are at least perfect in their way.

Wednesday evening, May 13, was the opening night of the Garden Concerts, of which the present is the seventh season. The night was pleasant and the vast concert-hall was well filled.

The following finely contrasted bill was presented [see above].

In part first of the programme, we find an old favorite in the exquisite ballet music to ‘Prometheus’ and we hardly know which to praise most, the music itself, so graceful and soul-satisfying, or the wonderful perfection with which it was played. The selections from Lohengrin were splendidly given, and the opportunities which the Thomas Orchestra has afforded us all, of becoming familiar with some parts of this great work, have done much towards creating that enthusiasm which greeted the appearance of the opera when Mr. Strakosch brought it out here last winter.

Part second contains two novelties, (for New York): Schubert’s overture—‘Fier-A-Bras’, and the ‘Meditation’ by Gounod. The first, like all of Schubert’s orchestral music, will repay careful and reverent study. The second is a highly-colored work, of the rich, sensuous style in which Gounod excels; it will probably be a popular favorite this summer.

The season opens brightly for Mr. Thomas, who has accomplished all that he undertook; brightly for the manager, who looks forward to a brilliant and successful year; brightly for the public who may enjoy a long succession of summer evenings, passed in delicious coolness, filled with delightful music to which the senses are predisposed by draughts of the invigorating lager, and whiffs of the tranquilizing Havana. Surely a Sybarite might sigh for this. The Garden is open every night. Go there!"