Thomas Central Park Garden Concert

“Thursday evening has been selected this season, as during previous seasons, at Central Park Garden as a particular evening of the week on which the programme will contain certain works of a higher order than on other nights, and has become familiar to the many thousand habitués of the garden as ‘the classical night of Thomas.’ The programme last evening began with Cherubini’s fine overture, ‘Abenceragen,’ a gem from the hands of one of the sweetest and most charming of Italian writers. Brahm’s [sic] orchestral variations in one of Haydn’s themes followed and had an attractive successor in a very interesting work by the talented French composer, Saint Saens, a symphonic poem on the subject of that Dailah of Hercules, Omphale. The extremely noisy ‘Kaiser March,’ of Wagner, concluded the first part. Raff’s highly descriptive symphony, founded on Bürger’s poem of ‘Lenore,’ was the attractive feature of the second part of the bill. Although there is an evident departure from true symphonic form in this work, the many delightful passages scattered through it and its intense dramatic character must always claim the attention of the public and make it a desirable number on an orchestral bill. It was played by Thomas’ orchestra with that wonderful power, vivid expression and effect that would make even a work of lesser merit a success. Liszt’s ‘First Hungarian Rhapsodie,’ not by any means a good representative of that erratic master’s style, was succeeded by the idyllic meditation of Gounod, in which the solo part was played by sixteen violins, and the English horn obligato was intrusted to Mr. J. Eller. Strauss’ ‘Telegram’ waltz closed the concert. The orchestra has gained considerably in power, promptness in obedience to the conductor and breadth of expression since last summer. Mr. Thomas’ unremitting labors have been constantly productive of good in regard to his orchestra. There are many additional delicate nuances in expression, a further march into the realms of musical poesy. It is now, par excellence, the first orchestra in America, and it is doubtful if its compeer can be found even among our transatlantic cousins. Orchestra and conductor are alike worthy of the support and respect of all Americans. Simply to sit in this agreeable garden, with the cool wind blowing from the Park, and to listen to the music, is a pleasure. For in Thomas’ orchestra it is not only the high quality of the music that pleases, but the delicious tone of the instruments that gives a rich, sensuous delight to the ear, which is independent of the intellectual enjoyment. Even the mind untrained in classical music feels this influence of the pervading spirit of sounds and numbers, by which, as the ancient philosophers argued, all things are controlled. A completely equipped orchestra, with all the instruments perfect, from ‘the boisterous kettle drum to the far heard clarionet,’ is so rare in America that we may well be grateful to Theodore Thomas for giving it.”