Central Park Garden Concert

Event Information

Venue(s):
Central Park Garden

Conductor(s):
Theodore Thomas [see also Thomas Orchestra]

Price: $.50; $1-2, private box

Event Type:
Orchestral

Record Information

Status:
Published

Last Updated:
31 May 2025

Performance Date(s) and Time(s)

05 Aug 1874, 8:00 PM

Performers and/or Works Performed

1)
LIST OF PERFORMER(S)/ORGANIZATION(S)
Participants:  Thomas Orchestra
2)
Scènes pittoresques
aka Scenes pittoresques
Composer(s): Massenet
3)
Wo die Citronen, blüh’n, op. 364
aka Wo die Citronen, bluh’n; Where the lemons bloom
Composer(s): Strauss
4)
Guillaume Tell, overture
aka Guglielmo Tell; William Tell; Introduction
Composer(s): Rossini
5)
Roswitha, Vorspiel
aka Dornroschen
Composer(s): Linder
6)
Fantaisie-caprice, op. 11, A major
aka Fantasy caprice; Fantasia caprice
Composer(s): Vieuxtemps
7)
Symphony, no. 4, op. 86, F major. Selections
aka Weihe der Töne, Die; Consecration of the sounds
Composer(s): Spohr
8)
Trovatore, Il, selections
aka Poptpourri from Il Trovatore
Composer(s): Verdi
9)
Nautilus waltz
Composer(s): Cooney
10)
Rienzi, ballet
Composer(s): Wagner

Citations

1)
Advertisement: New York Herald, 05 August 1874, 2.

Includes program. 

2)
Review: New York Herald, 08 August 1874, 5.

“A programme combining novelty with real merit was offered at Central Park Garden Wednesday night, and was interpreted with exquisite skill and effective power by the magnificent band over which Mr. Thomas wields the baton. It was the eighty-fifth concert of the summer season, and yet the novelties in the répertoire of the band are by no means exhausted. The opening work by a French composer, Massenet, entitled ‘Suite,’ scenes pittoresques, was not one likely to become popular or to hold a place for any length of time in Mr. Thomas’ répertoire. It is fragmentary and illy constructed, and of the four parts, march, ballet, Angelus and Bohemian festival, we could not find half a dozen bars calculated to arrest attention and admiration. The other novelty, the introduction to ‘Rosnith oder Domroschen,’ by a young musician of Stuttgart, named Linder, was exceedingly beautiful, but it bore the unmistakable impress of Gounod on it. So much for originality. Strauss; new waltz, 'Wo die Citronen bluhn,’ the principal merit of which lies in the clever scoring, was also given. The ever welcome fantasia caprice of Vieuxtemps, which has become a general favorite, was in the second part of the programme. The variations in the second theme of this charming work are unadvisedly committed to the clarinet, which gives them a coloring injurious to their pristine beauty. Two movements from Spohr’s ‘Consecration of Sounds,’ revealing probably better than any other selections the characteristics of the violinist-composer, followed, and were rendered with that finish in ensemble and heartiness of spirit that might be expected from this orchestra. Selections from ‘Trovatore,’ the ballet music in ‘Rienzi,’ ‘The Nautilus Waltz’and ‘William Tell’ overture were also presented. It was worth a long journey to hear the Rossini overture played by the band. Years have passed since the Swan of Pesaro gave to the world this immortal work, and its equal has not yet been discovered. The rendering of it Wednesday night was simply marvelous. The painting of the storm was lifelike. The conductor’s baton seemed to be the palette of a Buonarotti on which every shade of coloring and expression might be found. The dialogue between the oboe and flute in the ‘Ranz des Vaches’ seemed as fresh as if thirty years had not elapsed since it was a novelty, and there was an Alpine avalanche in the thunderous sweep of the finale.”