Central Park Garden Concert; Gounod and Strauss Night

Includes program. 

“A night at Central Park Garden devoted to the works of a particular composer has become an unfailing attraction. Beethoven, Wagner, Mendelssohn, &c, have presided in turn over those tone feasts, the host last evening being Gounod. Despite the threatening aspect of the weather the hall was absolutely crowded. The following works of the French composer were given [see above]. The symphony was the pièce de resistance. The four movements are:--1. Adagio-allegro agitato; 2. Larghetto non troppo; 3. Scherzo; 4. Finale. The second movement is the most graceful and attractive, and the themes are woven together as daintily as a bridal veil. The work cannot, however, be considered as one that will gain favor in the great symphonic world. It lacks inspiration, the themes are labored, and except in the larghetto are not of a nature to draw the sympathy of a musician. The coloring is really beautiful, and so varied that it compensates to some degree for the uninteresting quality of the subjects. The finale is exceedingly tame and ineffective. The march from ‘La Reine du Saba’ is [full?] and inspiring, and will always be a favorite in concerts. The waltz is unworthy of such an eminent writer. A number of Strauss’ works followed the Gounod selections, and all were played with that wonderful thoroughness and heartiness that this orchestra knows how to communicate to a symphony, a march, an overture, a poem or a waltz.”

“On Saturday evening the first and second parts of the concert at the Central Park Garden were devoted to the works of Ch. Gounod.

The principal compositions performed were the ‘Marche et Cortège,’ from the grand opera in five acts, ‘Irene’ (‘Reine du Saba’), the ‘Faust’ ballet music, and the second Symphony in E flat. The march was magnificently played. Its majestic introduction, bold, vigorous opening subjects, with solid, massive harmonies, and dignified, stately progressions were all displayed to the greatest advantage by the unrivalled orchestra of Mr. Theodore Thomas.

The richness, splendor and brilliancy of the brass instruments were especially noticeable in the coda where the trombones take up the final motivo.

The trio in the key of four flats is not so markedly masculine in character, yet does not please us less on this account, but gives relief to the ear; and when the theme is repeated, several inner melodies are added to the principal one, which gradually impart new life and vigor, till a sequential progression is formed that leads in one continuous onward sweep to the re-entry of the principal theme.

The ‘Faust’ ballet is now inserted in the opera at page 235 of the fourth edition. At a sign from Mephistophélès the Brocken changes its aspect. In the ruins of a gigantic palace which is fantastically illuminated are seen Aspasia and Lais with a group of courtesans, who invite Faust and Mephistopheles to the festivities. Cleopatra and her Nubian slaves endeavor to attract Faust. Then follows the daughters of Troy and Hélène, rival of Venus (Toilette d’Astarté). Afterwards Phryne enters, and subjugates Faust. Then the phantom of Marguerite appears. The music is divided into seven ‘numbers,’ the first of which commences with a short fortissimo introduction, and then proceeds softly with a graceful, flowing melody marked allegretto, and in the style of a waltz, the peculiar rhythmic motion of which is sustained throughout. No. 2 is an adagio, commencing, after a brief preamble, with a melody consisting of short, detached phrases, played with great sonority by all the violins on the fourth string, united with the violas and violoncellos in the octave below. To this succeeds a very light, tripping passage, that leads to a resumption of the original theme. The third movement has for its principal subject a vivacious, piquant melody in a minor key, which is articulated with great distinctness by the shrill notes of the octave piccolo, and is accompanied by the tambourine, &c. No. 4 is a majestic, bold theme scored freely for the brass instruments, which forms a remarkable contrast to all that had proceeded, from the richness of its orchestral coloring, the grandeur of its harmonies and stateliness of its rhythmic motion. No. 5 begins with an arpeggio introduction for the harp, which instrument accompanies the succeeding theme for violins and cellos in octaves, and is played with grace and elegance, in accordance with the general character of its phases. No. 6 is an allegretto having a light, pleasing motivo that contains a sextuplet of very short notes, which have each to be played with great celerity and also be detached from one another. The execution of the violinists of this particular passage was particularly neat and clever. No. 7 begins with an animated subject in a minor key, played fortissimo and with strongly-marked accents. Then follows a melody in octaves for the violins and cellos, which is founded on a chromatic passage and has a peculiar languishing expression. After a return of the principal subject, four repetitions of the note B on the trumpet indicate the entrance of Phryné, and then a new rapturous melody springs forth, played in a soft, sweet, delicate manner (soave) by the stringed instruments. With a vivacious, dashing, animated coda the music of the ballet concludes. It is in every way worthy of the grand and universally admired opera, ‘Faust,’ and is written in its composer’s most successful manner.

The symphony, which was performed at the Gardens last night for the first time, is for full orchestra, without trombones, and has the following movements [list of movements follows]. The adagio is a brief introduction, which commences with full chords, succeeded by sustained notes for the horns, and afterwards by a series of short melodious phrases for flute, oboe, clarinets, &c.

The allegro begins with a subject for the violins, which is extended, and then leads directly to the second subject, which consists of a motivo of one bar repeated four times successively on lower notes. The movement is in regular Mozartean form, and the subjects are elaborated chiefly by being repeated in different keys. The passages are flowing and graceful, and proceed continuously in the light and happy style peculiar to the French.

The larghetto opens with a melodic progression similar in its intervals to the second subject of Weber’s celebrated overture, entitled ‘Ruler of the Spirits.’ It is calm and placid in character, and after being fully recited by the violins is repeated by the wood instruments. Then a light, tripping passage occurs for violins, which is carried out to some extent, while short melodies are inserted by flutes, clarinets, &c. The first subject is next repeated with a very light accompaniment of rapid runs, played very smoothly, which forms a kind of musical embroidery, and afterwards the light, tripping passages before alluded to are repeated. The form is therefore bipartite. The scherzo and final allegro are very simple structures considered rhythmically; for they consist of short motives of four notes, or two bars, each of which are repeated in most obvious ways, and therefore require little reflection for their appreciation.

It cannot be truly said that the gifted composer, Gounod, has shown herein himself to be as great a master of the symphonic style as of that of the French grand opera. Although this work has the external form of a symphony, it is by no means certain that it is entitled to rank as one; for the subjects are ordinary melodies, with short, regular, symmetrical rhythmic forms, which seem to be cut as it were into lengths, and will not, from their very nature, admit of the highest form of elaboration; their compact, finite character would be at once perceived if one should endeavor to extend them, nor do they appear to contain any very deep hidden meaning, for if so this would be made to shine through more and more as the work proceeds. It cannot said that the subjects are unfolded. They fully display themselves at the outset, and on being repeated the chief perceptible alteration is a fanciful variation of the accompanimental parts. And be it noted that these are mostly only accompanimental parts, however variegated and highly embellished they may be, for to be entitled to rank as counterpoints they should contain some important subject-matter. Sometimes it will be evident at a glance that they are formed on a design symmetrically as a pattern. Besides, the whole orchestra does not find employment in the subjects themselves, for when antiphonal responses are made these are mostly confined to the upper and lower parts.

In the modern orchestral symphony the ideas themselves should not be feebly conceived or feebly expressed. Their richness should be commensurate with the wealth of the means required for their complete setting forth, namely the grand orchestra, and in their exuberance they should be competent to fill satisfactorily the classic forms. Otherwise extravagance in the display of material may betray spiritual poverty. If the ideas are weak, it is immediately perceived that the orchestra is not actually engaged and intensely interested in them.

These remarks are not made to detract from the fame of this great artist, but to point out to students and others the necessity of inventing ideas deep or elevated enough to form the subjects of symphonies which will be so vast in their range and so profound and comprehensive a flow of thought and feeling, as actually to demand the resources of a grand orchestra. Otherwise it would be preferable to adopt some other form of composition.”