Levy to positively appear on Thursday evening. 

Includes program. 

“It requires no great farsightedness to notice that favors which are too readily conceded are usually but ill appreciated. The very readiness of their granting is apt to dull the apprehension of their worth. A slight indisposition—a sore lip or something of the kind—has guarded Mr. Levy against any possible mishap of this sort. It is not to be assumed, of course, that there is any favor in any artist appearing on the first night for which he is announced, or that so good an artist as Mr. Levy would be received with scant appreciation, but, on the whole, it must be admitted that expectation was set a little more on tiptoe, and that the celebrated cornet player rather gained than lost a point of vantage. There was yesterday a very large attendance in Mr. Gilmore’s Concert Garden, although probably not so great as when the summer was younger, and when people had less thought of journeying toward the seaside. Mr. Levy was only set down for one cornet solo—the ‘Leviathan Polka’—of which he is himself the composer, and in right of which his name stood on the programme in italics, and in such goodly company as that of Wagner, Verdi, Weber, and other composers of note. It was clearly understood, however, that he would furnish the audience with a couple of responses to the encores which were considered as inevitable. His performance came in at the second part of the programme, and he was preceded by Mr. Arbuckle, who played an air with variations by Verdi, and who, in acknowledgment of emphatic redemands, played with his accustomed skill ‘Old Folks at Home’ and ‘Robin Adair.’ Mr. Levy’s ‘Leviathan Polka’ is one of those florid and intricate pieces especially calculated to test his exceptional skill in rapid movements. It is full of the most delicate subtleties of sound, with now and then a resonant trumpet-blast that greatly enhances its effect. It is needless to say that Mr. Levy is a thorough master of all the intricacies of ornate writing, and the well-defined clearness of every note is quite equaled by the marvelous accuracy of transition from one to another, a transition perfectly free of blur or hesitancy. His art was further tested in another direction when he responded to the first encore, and played a German air best known by the title ‘How Shall I Part from Thee.’ It was replete with melody, but Mr. Levy was thoroughly successful in dealing with it. Every tone had a ringing clearness that was at the same time consistent with the most delicate and harmonious fullness. Indeed, above all things, his execution is free of harshness or angularity. In answer to a third call, he played ‘Yankee Doodle,’ with variations. The performance was another great effort of skill, and was properly acknowledged by the warmly-expressed approbation of the audience. The general programme was excellent, and included among other things a solo for the saxophone by E. A. Lefebre, and the aria ‘Infelice,’ from ‘Ernani,’ which was sung by Mr. A. Sohst. Mr. Levy will continue to perform until further notice.”