Thomas Central Park Garden Concert

Includes program. 

Descriptive analysis of Abert’s adaptation of Bach’s Prelude, choral, and fugue.

Includes program. 

“’Classical evening’ at the Central Park Garden brought together, yesterday, the wonted concourse of dilettanti, and the principal performance on the programme, that of Beethoven’s Second Symphony, being quite in keeping with the importance of its subject-matter, attendance was liberally repaid. If Mr. Thomas has not as yet made known very many of the novelties he usually holds in reserve for the Summer months, it is doubtless because the season can hardly yet be considered as at its height. That hard-working conductor, too, is at present enjoying a brief holiday, and while we have no desire to underrate the merit of Mr. Dudley Buck as a musician, we must say that we prefer the well-known hand at the helm, on momentous occasions, at all events. Meanwhile, Mr. Dudley Buck keeps nicely up with the orchestra, and Mr. Thomas’ recess will not compromise anything. The Central Park Garden is still the place where music in the fullest sense of the word can be enjoyed.” 

“Theodore Thomas has been taking a short rest this week, and Mr. Dudley Buck has occupied his place at the Central Park Garden, apparently to the satisfaction of the audiences. Mr. Buck has produced a beautiful Romanza of his own for four horns, with accompaniment for the full orchestra in which the harp plays a prominent part. Nothing can be warmer and more luscious than the blending of a good horn quartet, such as this fine orchestra is able to furnish, and as the composer has wisely forborne to embarrass the performers with technical difficulties the effect is thoroughly good. The accompaniment shows great skill and taste in the instrumentation, and the piece has been received with marked favor. It was given on Thursday, before a very large audience, the first part of the programme also including Goldmark’s admirable ‘Sakuntala’ overture, the Allegretto from Mozart’s E flat Symphony, and Abert’s Prelude, Choral and Fugue adapted from Bach. This last brilliant work was brought out at these concerts about a year ago, and is always heard with delight. The Prelude is taken from the ‘Well tempered Harpsichord’ (No. 1); the Choral, scored for trumpets, horns, and trombones only, is Abert’s own; the Fugue is from an organ fugue of Bach’s in G minor; and in the course of it the choral is introduced again by the brass instruments with most striking effect. The arrangement is a highly ingenious one, and the scoring offers an excellent study.”

“Mr. Dudley Buck acted as conductor in the absence of Mr. Thomas. His Horn Quartet has already become quite popular, both on account of its merit and of the masterly performance of the horn players. It is a bold, romantic conception, scored with remarkable talent, and the orchestral part is very nicely balanced and finely harmonized, producing a beautiful effect.

The backbone of the programme was, of course, the Beethoven symphony, which was very well rendered, thanks to the discretion of the orchestra which followed the first violin headed by Mr. Jacobsohn, and was followed in turn much of the time by the conductor’s baton. The Bach music was particularly interesting and the adaptation is good. The Streuensee Polonaise, part of the music written to illustrate the tragedy by Michael Beer, is very effective and has found place in the programmes frequently of late.”