Theodore Thomas Symphony Concert

Descriptive analysis.

Descriptive analysis. 

Includes program. 

“The most important numbers on the programme of Thomas’s concert at Steinway Hall, last night, were Mendelssohn’s Scotch Symphony, the Introduction and Finale from ‘Tristan und Isolde,’ and Schumann’s piano-forte concerto, played by Mr. Constantin Weikert. All these were given in the first part of the evening. The second part was devoted to selections of somewhat smaller proportions, but still of serious value. Mr. Weikert, who made on this occasion his first bow before a New-York audience, is a young man, born in the central part of the State and educated in Germany, whence he returns fortified with a strong recommendation from Reinecke. He made a pleasant impression, which we dare say will be strengthened as he is heard oftener. His technique is good and his style bold and masculine, and though his execution of the [illegible] but very trying concerto was not free from faults, he gave evidence of decided talents and a [nice?] musical intelligence.”

“Mr. Thomas’ extra concert given at Steinway Hall, last evening, was the occasion of the debut in this country of Mr. Constantin Weikert, a pianist who has studied at Leipzig. Mr. Weikert is to be greeted as a not valueless accession to the ranks of pianist militant, who are singularly few in number in this community, where teaching is more profitable than performing in public. He is not, however, a remarkable executant. Mr. Weikert has more technique than actual command of his instrument; his right hand is much inferior to his left, which inferiority robs his work of crispness and brilliancy, and there is not the faintest air of maestria about his playing. Mr. Weikert reads exceedingly difficult music, and reproduces its letter faithfully, but we failed, yesterday, to catch the spirit of either Schumann’s concerto for piano and orchestra (opus 54,) or of Chopin’s melodious and intricate ballad in G. It should be added that the new-comer is a young man; a vigorous and correct recital of Schumann’s exacting concerto by a youthful pianist is not to be disdained because characterized by promise rather than fulfillment. The audience, no doubt, viewed the subject from the same standpoint as ourselves, and Mr. Weikert was heartily applauded, and after the ballad, recalled. The orchestral music on the progamme included Mendelssohn’s tuneful ‘Scotch’ symphony, which Mr. Thomas’ forces interpreted, we thought, with particular sympathy and with their wonted precision; the familiar excerpts from ‘Tristan and Isolde;’ Bach’s ‘Ciaconna;’ arranged by Raff, and containing a few passages which grow upon one; the overture to ‘Lenore’ No. 3, and some new ‘Hungarian Dances,’ by Brahms, decidedly characteristic in rhythm and instrumented with a richness of coloring well-nigh unsurpassable.” 

“Another of Mr. Thomas’ most welcome entertainments brought together last night, at Steinway’s, an audience not large in numbers, but responsive and enthusiastic. Mendelssohn’s graceful and delightful Scotch symphony, ‘Tristan and Isolde,’ Introduction and Finale, and Brahms’s Hungarian Dances—the latter fitted with a wild, breezy spirit, and a quaint catching melody, all their own—were the prominent orchestral numbers. Schumann’s charming concerto, opus 54, for piano and orchestra, was given, with Mr. Constnatin Weikert of Leipzig, as the pianist. His success was measurable only. His playing shows study and conscientiousness, sometimes fair taste and feeling, but the impression is, on the whole, monotonous. He utterly lacks massive or grand effect in fortissimo passages, his runs are neither neat nor brilliant, and his whole touch lacks force, fire, and vitality. But it would take worse playing than Mr. Weikert’s to spoil the effect of the noble concerto, one of Schumann’s most enjoyable works. Chopin’s ballade in G minor fared not quite so well.”

“The concert given last night by Mr. Theodore Thomas at Steinway Hall began with Mendelssohn’s Scotch Symphony in A minor for full orchestra without trombones. It was interpreted in the true Mendelssohnian spirit. The introductory Andante con moto and the graceful flowing Allegro un poco were never more fully enjoyed. The Vivace non tropo, the adagio, Allegro guerriero, and Allegro di molto were received with loud acclamations. The long-drawn melody of the Adagio, when it reappears played by violoncellos and horns, made a marked impression, and the episodal passages in the style of a solemn march, formed a remarkable contrast. Mendelssohn appears here to have had before his mind two scenes for realization: in one, groups of bereaved women bewail their dead in sorrowful strains; in the other, funeral processions of those bearing the bodies of the slain are indicated. From the first expression of bitter grief at the beginning of this movement, to the long-drawn sigh at its close, preceded by the ominous sounds of the funeral drum, this movement was rendered in a manner that brought out its dramatic character with great effect, and recalled the words of the Ossianic poem, ‘Peace to the souls of the slain.’

Schumann’s concerto in A minor for piano-forte and orchestra (opus 51) followed, the soloist being Mr. Constantin Weikert. The lovely melody which forms the second subject, and is frequently heard from the clarinet, whose beautiful tones render it still more attractive, did not fail to please, especially in the first movement. The Intermezzo, with its fascinating melodic phrases for violoncello, &c., also afforded great gratification.

The Allegro vivace, with the brilliant dashing opening theme and succeeding waltz-like melody—both of which acquire an indescribable charm by the wonderful way they are developed in the formation of this final movement—was extremely welcome. Its joyous, impulsive character scarcely shows a trace of that peculiar mystical melancholy and gloom which characterizes the preceding movements and many of the works of this great composer.

Mr. Constantin Weikert performed the piano-forte part in such a way as to prove that he had completely mastered all the technical difficulties, and had formed a fair conception of the composer’s meaning. Yet, notwithstanding his great talents, they hardly seemed sufficient to command success with such a highly critical audience. Although loudly applauded and encouraged, he was apparently nervous, and therefore may on some future occasion appear to much greater advantage. Notwithstanding the great efforts that were evidently made in the fortissimo parts to produce strong, full, manly tones, those really obtained were comparatively weak and wanting in breadth and power. The ‘Ballade’ by Chopin lost much of its beauty by the great liberties which were taken with the tempo and the strangeness of the interpretation. In no instance, not even in the pianissimo passages, was the quality of the tones changed by subtle variations in the mode of touching the keys; nor were the arts employed by great concert pianists used on this occasion to captivate the audience; yet he succeeded in winning favors, and was encored in this solo.

Being near-sighted, and depending almost entirely on the notes (not having committed these compositions to memory), he labored under disadvantages which must always be considered great.

Wagner’s introduction and finale from ‘Tristan und Isolde’ closed the first part. This extremely delicate, elaborate and highly artistic production was delivered in a style in every way worthy of it. It is easy to perceive how very important it is that Wagner’s music should be delivered in the most faultless manner, by reference to this piece; for if it is executed in a style wanting in refinement and finish its ineffable beauty cannot be perceived.One may listen to inferior performances of some other music and be content, for the composer’s meaning, not being so new and strange, may be apprehended; but here the slightest roughness in the tones, irregularity in the time, incorrectness in the intonation, or even a change of expression in any one of the parts, may hide the intention and vitiate the result. The opening motive, suggestive of the love-philter, is played softly and with great feeling and tenderness, yet it is an intensely passionate utterance, and seems to be striving upwards to find rest and repose. This melody is closely interwoven with itself to form a gossamer web of harmony that floats along with ever-changing aspect, and fascinates us with its brilliant iridescent hues. The dying scene of the lovely Isolde, with the highly ornate accompaniment for harp, which has also been reviewed in these columns, was applauded with great enthusiasm. The magnificent climax near its close was almost overwhelming.

Bach’s ‘Ciaconne’ was given with great success. We have already referred to the nuances of time by the aid of which Mr. Thomas gives a ‘reading’ of this truly great work that makes it specially attractive.

In several points Raff’s decisions are open to objections, though his work in general is entitled to great praise.

The editions of Bach vary considerably, like those of Shakespeare, and it may be disputed whether Bach wrote G natural or G sharp on the first beat of the eighth bar of the fourteenth variation; but if G natural is to be accepted as correct, it should have B flat in the harmony, not B natural, which in this mode, so treated, has here a harsh, unnatural effect.

The Hungarian Dances by Brahms, that were played for the first time in New York afforded considerable gratification, and we look forward to their repetition at the next symphony concert and rehearsal.

A magnificent performance of Beethoven’s Lenore overture (No. 3) brought this highly interesting concert to a satisfactory termination.” 

“Mr. Thomas’ bill last evening introduced many of the brightest selections from his very extensive répertoire, and, as usual, the contrasts of styles gave variety sufficient to satisfy the most exacting ear. From the hearty, genial melodies and fresh, delightful instrumentation of Mendelssohn’s Scotch symphony to the grand, overpowering measures of the introduction and finale of Wagner’s ‘Tristan and Isolde’ there is a long intervening space, and yet both works, so opposite in character, are the best of their respective schools. Then Raff’s orchestral setting of Bach’s chaconne, which has been so long the object of violinists’ ambition, and Brahm’s fanciful arrangement of Hungarian dances, present widely different views of the boundless realms of classical music. A fitting frame for this wreath of classical gems was the third overture to Beethoven’s ‘Leonora,’ by many considered the best of the immortal quartet. The soloist was a young American pianist, Mr. Constantin Weikert, who has devoted many years of his life to the study of music at the Conservatoire of Leipzic. His ambition on the occasion led him to select a very dangerous work, dangerous on account of its polyphonic and colossal nature, the concerto, Opus 51, by Schumann, in which Rubinstein’s genius shone in its brightest form. Mr. Weikert, in his interpretation of the work, proved himself a master of the enormous technical difficulties with which the work abounds, but we fear that to-day the course of instruction at the Leipzic Conservatoire sacrifices many essential points of touch, expression and poetical imagery to the mere mechanical study of technique. This was shown in Mr. Weikert’s case in the rendering of the Ballad in G minor, of Chopin, in which there was observable a certain hardness of touch and style not congenial to the idyllic music of the Polish poet. Yet the finish of execution shown by this young pianist is a very favorable augury of his future career.”