Theodore Thomas Symphony Concert: 3rd

Includes program. 

“The third of Mr. Thomas’ series of six symphony concerts, at Steinway Hall, occurred last evening. The announcements of Mr. Thomas’ fine entertainments are always potent to draw together a large audience, and the promise of his programmes is never left unfulfilled by an unsatisfactory performance. Yesterday’s recital was attended by the usual results, in respect of both audience and impression. The first number executed was Gluck’s overture, ‘Paris and Helen,’ a composition not particularly characteristic of its author’s genius, but an excellent specimen of his clear and vigorous writing. Mr. Remmertz than sang the basso’s grand air, from Euryanthe, an opera which for some unaccountable reason, has not, within our recollection been given in this City. Much of the music of Weber’s time has grown old, and, so to speak, out of fashion, but the works of the author of ‘Der Freyschütz’ sound to us as fresh and as full of color and life as the newest lyric dramas. Mr. Franz Remmertz’s voice and style scarcely did justice to the broad phrasing and the strong contrasts of the air and recitative he interpreted; we do not know, however, where Mr. Thomas could find an acceptable substitute for him, as Mr. Remmertz brings to his tasks agreeable tones, a delivery simple and correct, and a remarkably fine presence; he is, as a rule, generously, and not injudiciously, applauded. The principal piece on the programme followed the air from ‘Euryanthe.’ We should like to hear Raff’s Sixth Symphony once or twice more before forming an opinion of its worth. It is certainly a most elaborate achievement, in which the unquestioned skill of the composer of ‘Im Walde’ as a writer for the orchestra has abundant illustration; but it seems to us that it is neither so attractive as the ‘Lenore’ symphony or as ‘Im Walde,’ nor so original, even, in thought. There are some delightful passages in the first and second of the four movements of the sixth symphony; but the general effect of the score is rather vague. It is, in fact, easier to write imitative music than music illustrative of so mysterious a motto as ‘Gelebt, gestrebt, gelitten, gestritten; gestorben, umworben;’ and the meaning of the Sixth Symphony is far harder to reach than the significance of its predecessors. Two hearings of so important a production are, in any case, insufficient to determine even the measure of its popularity, and we believe that a repetition of the magnificent rendering of yesterday would be welcomed by everybody. The second part of the programme opened with two excerpts from Wagner’s ‘Walkure.’ The first is called ‘Wotan’s Farewell,’ the second ‘The Fire Charm.’ To make them wholly intelligible, it would be necessary to print the plot of the opera, which is one of the ring of ‘The Nibelungen,’ to be represented at Baireuth in 1875. Lacking the space, it must suffice to remark, in explanation of ‘The Fire Charm,’ [plot explanation follows]. The music allotted to Wotan did not strike us as remarkable, but the orchestral passages in which the birth and approach of the flames are described by methods plainly Wagnerian and exceedingly felicitous though not unfamiliar, are very forceful. The perfect recital of this particularly exacting number of the programme by Mr. Thomas’ orchestra brought about an enthusiastic recall for the conductor. The evening terminated with a splendid performance of Beethoven’s Fifth Symphony.”

“’Who will deliver us from the Greeks and the Romans?’ inquired a French writer, in an irrepressible outburst of irritation. In the same manner we are tempted to ask, Who will protect us from a class of our fellow beings who proclaim that they understand Beethoven and that no one else does? The despotic influence which oppresses the French writer, and which is felt at times as keenly in the present world of art and letters as was the material sway of the two great powers in the days when the universe trembled at the power of Rome and fawned at the feet of Athens, is no more irksome than the tyranny of certain musicians, who, in accordance with their own pretensions, have received from the great Beethoven himself, as an inalienable heritage, the exclusive right to judge and interpret his works. Apropos of these observations, it has been remarked that Theodore Thomas, not understanding Beethoven’s music, cannot play it. Last evening, on  the occasion of his third symphony concert, the public had the opportunity of listening to, and as far as our observation went, enjoying Beethoven’s fifth symphony in C minor. The work is too well known to need comment, but its interpretation was sound and vigorous. There is undoubted intelligence in Mr. Thomas’ leadership, which enables him to deal creditably with all composers, and a contagious energy and vitality which lift both his orchestra and his audience above any tendency to fall into the slough of despond and apathy. But the subtle and more refined points in the writings of the old masters, coming less within the circle of Mr. Thomas’ sympathies, meet with a more imperfect recognition at his hands than the romantic and highly colored school of modern Germany. Raff’s symphony in D minor, new to our musical public, came in the first part of last evening’s programme and proved itself worthy, through its attractiveness, of the same hold on popular favor as the Leonora symphony. The motto affixed to this recent valuable addition to our concert répertoire, suggests the idea of life in general, its aspirations, its struggles and its inevitable termination as the basis of the composer’s musical ideas. An allegro movement, fresh and interesting, ushers us into life; a vivace, melodious and Mendelssohnic in treatment, reconciles us to existence, and a funeral march, solemn and touching, awakens doubts within us as to the durability of happiness, and finally, in a spirited allegro, more prosaic and commonplace than that of the early and gushing days, we are hurried out of the world. This fatal dénouement only taking us to No. 3 on the programme, we are forced to return to life after a few moments’ intermission to assist at the performance of a scene from Wagner’s ‘Walküre,’ given for the first time by Mr. Frank Remmertz. This bit of pictorial illustration, embodied in all the force of Wagner’s harmonies, excites in us new interest in regard to the forthcoming opera of which it forms a part. The plot of the opera requires a too lengthy and patient investigation to make it available in a brief notice like the present, but the scene wherein Wotan, a god of might and power, sees fit to punish his daughter by condemning her to an indefinite term of sleep, at the same time protecting her by an encircling barrier of fire, is full of weird and picturesque beauty. Mr. Remmertz impersonated the god of might and power. The lower register of his voice is more in consonance with our ideas of might, as indicated by control, than the higher. Some tones are eminently pathetic, as was noticeable in a scene from ‘Euryanthe,’ an agreeable selection from Weber’s opera, which occupied a place in the early part of the programme. Gluck’s overture to ‘Paris and Helen’ opened this highly enjoyable concert, making a suitable variety in the choice of composers. If crowded benches and spontaneous applause attest the popularity of these entertainments, Mr. Thomas can have no reason to complain of lack of musical appreciation in New York, for we have rarely seen Steinway Hall filled with a choicer and more satisfactory audience.” 

“The programme of the Third Symphony Concert given by Theodore Thomas last Saturday evening at Steinway Hall was as follows [see above].

These selections were chosen with admirable judgment and arranged with great art. The pure and majestic style of Gluck, represented in this programme by one of the most impressive of his overtures, marks an early step in the development of symphonic music which has so stirred our own time. A little formalism in the phraseology, and a stern simplicity in the harmonic treatment, give him such an old-fashioned appearance nowadays that one is apt to forget the great innovations he made upon the stiff, unyielding art of his time, and the importance of his position in the history of music as a precursor of the freedom of the modern school. In Weber the progress toward emancipation is still more plainly marked, and were it not for certain conventionalities of ornament which now and then interrupt the dramatic phrase, we might almost imagine that the composer of the beautiful scena from the second act of ‘Euryanthe,’ which Mr. Remmertz sang with such true feeling, had solved the problem of the intimate union of poetry and music, as we find it to-day in the Wagnerian opera. Raff brings us to a momentary pause in this onward march. He stands midway between the new and the old, with a tendency backward rather than in advance; yet he has profited so far by the example of his immediate predecessors that his music harmonizes well enough with the bolder compositions that surrounded it on Saturday. The new symphony shows less freedom and less brilliancy than either the ‘Im Walde’ or the ‘Lenore,’ and in confining himself to stricter forms the composer seems to have laid his invention under embarrassing restraint. Gelebt, gestrebt; gelitten, gestritten; gestorben, umworben,--Lived, striven; suffered, fought; died, won,’--such is the motto which Raff prefixes to his work. It is a picture then or a suggestion of earthly struggles and heavenly recompense, and we are to imagine that a life of endeavor is represented by the first movement, contest by the second, death of course by the funeral march, and victory by the final allegro. These hints however do not accord very well with the spirit of the composition, and we believe the music will be liked better if they are disregarded. The first allegro is prolix,--not that its length is extraordinary, but its subjects are too weak, and hardly bear the elaboration that is bestowed upon them. The vivace is ingenious and very difficult, yet it leaves an unsatisfactory impression, having too much grace to fit the idea of conflict and too little to be cheerful. The Funeral March does not strike one as entirely original, but it contains a charming melody in the style of the Reverie of the ‘Im Walde.’ The finale is full of spirit and has considerable strength. Notwithstanding its shortcomings the work is decidedly interesting on account of the rich orchestration and the elegant harmonic construction. All its beauties were admirably displayed by a performance even more sympathetic and eloquent than Thomas usually gives us, and if the work was not received with enthusiasm it at least made a pleasant impression.

The glory of the concert was in the second part. In the two extracts from the ‘Walküre,’ forming the [illegible] of this division of Wagner’s crowning work, we have a specimen of the very latest—we dare not say the last—development of the symphonic drama. ‘Wotan’s Farewell’ was given at one of these concerts two years ago, Mr. Remmertz singing the vocal part then also. The scene of the ‘Supernatural Fire,’ which follows this passage and brings the opera to a close, has not been done here before. We are not sure but that majestic soliloquy of Wotan is the finest of all the extracts from Wagner’s works which Theodore Thomas has set before us. The selection begins with a brief reminiscence of the ‘Walküren Ritt,’ and then bursts into an impassioned and somewhat rapid declamation, in which the anger of the god and the dignity of the father are most wonderfully muted. The tempo changes, and Wotan bids farewell to the prostrate Brünhilde in strains of the most exquisite pathos, equaling in tenderness the famous closing scene of ‘Lohengrin,’ but far surpassing that beautiful creation in the grandeur and eloquence of the orchestral portion, which throughout is not an accompaniment but an integral part of the musical phrase. A series of soft harmonies leads to the Fire Scene, where two harps play the leading motive, sustained by the rest of the instruments. This passage is not only beautiful in itself, but it throws out the preceding number in bold relief, and makes an impressive termination to the extract. Mr. Remmertz was recalled at the end of the piece, and then there was an enthusiastic demand for Theodore Thomas, who acknowledged the compliment with his usual modesty. The execution of this remarkable music was in all respects worthy of the composer—and we could not give it greater praise.

Last of all came the immortal [illegible] whose greatness nothing can diminish. We wrote with cordial appreciation only a little while ago of Thomas’s interpretation of the C minor symphony when it was given in Brooklyn. In New-York it was still more splendidly performed, the increased force of the bass strings—nine double basses and nine ‘celli—telling grandly in the andante con moto. But every part was given with unusual vigor, clearness, and breadth of expression, and several times the delight of the audience found expression in hearty applause.” 

“The symphony concert of Theodore Thomas’s orchestra was largely attended at Steinway Hall on Saturday evening. The programme consisted of an overture by Gluck, a new symphony by Raff, selections from Wagner’s Walkürie music, and Beethoven’s Fifth Symphony. Raff’s work did not seem to sustain the promise of either his ‘Im Walde’ or of the ‘Lenore’ symphonies. It was dry in subjects and lacking in inspiration, though elaborate in orchestral treatment. In the hands of a less skillful body of players,   it would assuredly have seemed very tame; but such an orchestra as this would put life behind the [illegible] of the deadliest music. Raff is far from belonging to the school of composers of so-called programme music, but he usually has some general text from which he writes, and for this symphony he has chosen the motto, ‘Gelebt—Gestrebt, Gelitten—Gestritten, Gestorben—Unworden,’ which freely rendered implies that life brings strife, that pain brings gain, and that after death comes peace and victory. This is a sufficiently noble and suggestive theme for a symphony, and not unlike the idea that it seems to be conceded Beethoven had in mind in the composition of his Fifth Symphony, with which the concert closed. But the difference in the two works was too wide for words; and when the artistic skill of this orchestra came to be applied to the interpretation of this (Beethoven’s) composition, which, excepting the Ninth Symphony, may probably be regarded as the greates of all orchestral works, the genius of the composer seemed to find perfect sympathy understanding expression. The result certainly was a wonderful rendering of a marvelous work. It differed from ordinary interpretations, such, for instance, as that to which the Philharmonic Society have accustomed us, not only by the perfect smoothness and unity of the playing, but especially in the accentuation, which was so carefully marked as to give quite a new meaning to the whole work, but especially to the scherzo.

Mr. Remmertz sang in the selection from the Walkürie music (Wotan’s farewell and the fire scene), and gave it with splendid effect. Even without the essential aids of scenery and action, this music of Wagner’s is exciting, and leads one to long for an opportunity to hear the whole work as it will be done at the famous festival next year.”

“At Steinway Hall on Saturday evening Mr. Theodore Thomas gave his third symphony concert of the present season. The hall was crowded with an enthusiastic and appreciative audience.

Raff’s new symphony was magnificently played. The entries of the trombones with the principal theme towards the end of the Allegro, and again with the opening subject of the funeral march when it recurs in the middle of the movement, were particularly grand. The Scherzo, though taken at a very high speed, did not reveal any new points which would lead us to modify our expressed opinions respecting it. It is the work of a master of counterpoint and interesting as a Scherzo, but in the gracefully waving melodic strain, and other parts, little is discoverable which bears directly or indirectly on the motto. The Finale, which opens with a series of wailings and a reference to the initial motive, soon leads to the entry of the first subject for violins. This was played fortissimo, and with tones most remarkable for their vivid, keen and penetrating quality. The delivery was vigorous, forcible, energetic and well adapted to bring out with telling effect this leading theme. The waltz-like melody which reappears in many varied forms was also fully enjoyed.

A symphony performed by this orchestra obtains such a glorious outward manifestation, and gives pleasure so rich in senuous impressions, that one may easily be temporarily satisfied with it, though when pondered in silence it may, like this, fail to bear comparisons with many others, on account of the ideas themselves not being happily conceived.

Mr. Theodore Thomas is an artist who fully apprehends the meaning of an author, and though extremely susceptible, at the same time possesses the power to impress others so forcibly that they render him obedience. He is in the highest sense the real reciter of the music, making his power manifest by the employment of agents whose wills are temporarily and voluntarily subjected to his will. Their individual personal tastes and inclinations are set aside, and thus concerted performance becomes possible. The orchestra is the grand instrument on which the conductor plays.

It is evident that he is not a mere mechanical time-beater. It is also equally evident that music is something more than dead mechanism, for, though its laws are stated with mathematical precision, in actual operation they must be modified in innumerable ways. In this respect only can it be the expression of the acting, thinking, willing and feeling spirit. In all departments of human life, persistent pendulum-like uniformity of motion is unnatural; in music, the pitch, the speed of motion, the quality of the tones, their intensity, etc., are varied incessantly, and sometimes by almost imperceptible degrees, under the influence of the psychologic character of a work. In the Parthenon, we perceive that the Greeks knew that a long, straight line would not appear straight to the eye, and therefore it was made a most delicate curve. Similar slight deviations from rigid exactitude must be made in music. In the Larghetto of this symphony the composer, Raff, gave for the length of each beat the eighty-fourth part of a minute. Mr. Thomas accepted this, in common with similar directions, as general advice; not to act as a tyrannical check to be observed irrespective of other considerations. The speed of the beats of this movement was allowed to fall in some parts to seventy-five per minute, and, at the point where the violins with mutes enter with the Cantabile in D minor, imparting to it a peculiar, plaintive, sighing effect—the principal theme being played the meanwhile by the soft wind instruments—the speed was gradually reduced to sixty. By these nuances of time alone the conductor succeeded in giving a ‘reading’ of the funeral march, which was the means of gaining for it increased admiration. Yet these, in common with other similar modifications, which give proof of a conductor’s artistic rank, pass mostly unobserved; for here, as elsewhere, ‘the height of art is to conceal it.’

The Wagnerian selection opens grandly. With almost unspeakable splendor the brass instruments here display their intensely brilliant tones. The rhythm soon becomes entangled, the many different themes come streaming in to swell the rich flood of harmony which rolls onwards and continues to receive contributions from innumerable melodic rills whose mazy windings still remain clearly defined. Then the voice of man enters and is borne on the surface of this surging sea of tone. The orchestra paints the scene to our inner eye. It supplements the solitary expressions of the singer by sympathetic responses, and even reveals that which he cannot express for himself. What deep pathos, what eloquent manifold utterances are found here!

The lovely Brunhilde sinks to sleep, and the fire is produced which shall protect her. Then follows the scene which has been already described in these columns. Mr. Remmertz acquitted himself well. At the close of the selection the applause was unanimous and prolonged. It seemed like a spontaneous outburst of joy—the outward expression of delight—of unalloyed enjoyment and gratification derived from this remarkable music; but soon it became evident that it was intended for the vocalist, the instrumentalists, and especially for Mr. Theodore Thomas, who eventually returned and bowed his acknowledgments.

The fifth symphony by Beethoven concluded the concert. It seems hardly necessary to say how well it was performed. The double basses played in the Trio of the Scherzo most admirably. They delivered the rapid runs with such extreme neatness, such clearly articulated phrasing and unanimity, that the subsequent onward rush to the emphatic note was quite a marked feature. When inferior orchestras attempt this movement at full speed, and the basses are divided in position, a confused scrambling generally results, whch detracts greatly from the dignity of such uniformly elevated music.

The symphonies of Beethoven require concentrated attention. They keep the mind fully occupied on one particular subject for a considerable period of time, every instant of which is filled with details of very great complexity. They resemble the works of nature in this respect, that they will bear close inspection.

The audience remained seated as if spell-bound until the very last chord, when they rose and departed, freely expressing their thanks and indebtedness to Mr. Thomas for providing them with opportunities for hearing works of the highest art, the contemplation of which ever affords a pure and elevating pleasure.”