Thomas Central Park Garden Concert

“Grand Wagner night.” Includes program. 

Includes program.

“The programme at the Central Park Garden was devoted last night entirely to the compositions of Richard Wagner, and as usual on such occasions the audience was a very large one. Wagner Nights in fact have become something like festivals at this establishment, and every season the strong hold which the Music of the Future has taken upon our people becomes more and more apparent. The pieces last evening, without being placed in anything like historical or even logical order, were well chosen, and offered abundant variety and effective contrasts. The following was the bill [see above].

This gave us a pretty good epitome of Wagner’s music so far as it can be represented in the concert room, for we had at least a taste of all the varieties of his style since he began to have a well-defined and significant method, with the exception of the burly humor and light gayety so curiously illustrated in the ‘Meistersinger.’ There is a wide difference between ‘The Flying Dutchman’ and ‘Tristan,’ which stand close together at the head of the programme, and yet in the overture to the earlier of these operas it is easy to recognize the same great mind which created the wonderful triple opera of the ‘Niblungs,’ and even such peculiarities of his ripest system of lyric compositions as the employment of ‘leading motives’ to accompany the introduction of the different characters and to suggest appropriate trains of thought, are clearly perceptible in the overture which describes the curse upon the phantom captain, the turmoil of the stormy sea, and the mercy that comes through woman’s love. The ‘Faust’ overture, fragment of an abandoned symphony, shows how great Wagner might have been as a writer of ‘programme music,’ had he not fortunately devoted himself to a higher branch of art; as it stands it is a torso so fine that we forget its incompleteness. Mr. Remmertz sang Wotan’s Farewell and the Romanza from ‘Tannhäuser’ nobly. The ‘Walküren’ selections gain a great deal by being combined as they were last night; they all belong to the last act of the opera, the Ride representing the introduction and the Farewell and Fire Scene the finale. To those who know Wagner only imperfectly, the violin solo by Mr. Jacobsohn must have been a great surprise. Here is a genuine romanza, as full of tender passion as a scene from ‘Lohengrin,’ and yet as regular in form and rhythm as a melody by Mozart. This ‘Album-leaf,’ however, is not an early work, for it was written as lately as 1861. Originally composed for piano, it was arranged by Wilhelmj for violin solo and orchestra. Mr. Jacobsohn played with beautiful expression and deep feeling, and yet with that broad masculine style for which he is so much admired. He was enthusiastically recalled, but before he had finished the piece the second time he snapped a string and was obliged to desist. It was a terrible night for strings; nevertheless the performance all through the evening was refined, spirited, and sympathetic.”

“By a caprice of the types, the ‘Wagner night’ at the Central Park Garden, which had been set down for Tuesday, was mentioned in these columns as appointed for Thursday. Happily, the blunder was followed by no bad results, for last evening’s concert was very largely attended, and passed off amid unwonted enthusiasm. Special programmes of this sort are always endowed with particular interest, and we should not be surprised if, among Mr. Thomas’ composers, Wagner proved per se the strongest to attract. Evidence for or against this belief will, however, be speedily forthcoming, for we are inclined to think that each of the great writers is to have one night a week to himself. Yesterday the author of ‘Lohengrin’ was represented by well-known works. First came the highly-pictorial overture to ‘The Phantom Ship,’ then the lovely music from ‘Tristan and Isold,’ and next the muscular and clangorous ‘Kaiser March.’ The second part of the entertainment included ‘Eine Faust Overture,’ which, for us, ranks among the least comprehensible of the composer’s achievements, and the familiar excerpts from ‘Die Walkure’; the third embraced the overtures of ‘Lohengrin’and ‘Tannhäuser,’ the romance of ‘The Evening Star’ from the latter opera, and a violin solo called ‘Albumblatt.’ The precision, fire, and power with which Mr. Thomas’ band interpret the compositions assigned to them in general, and those of Herr Wagner in particular, need no comment when employed in a task allotted to them again and again, and when we remark that there was no falling off from the excellence of past efforts, we are convinced we shall have said enough in relation to the present occasion. Mr. Remmertz sang his solos with his accustomed vigor and his accustomed uncertainty. We would not undertake to name a fit successor to this gentleman, who has long occupied a prominent position in Mr. Thomas’ concerts, by reason, doubtless, of a fine voice and presence, and considerable taste and breadth in delivery, but we certainly wish that a fresh basso would appear, or else that Mr. Remmertz would correct his ear, which prevents him from attacking with anything like accuracy, and learn to manage his tones, over which he has far from thorough control. The violin solo, which in sentiment and form reminded us strongly of the ‘Gesangscene’ from Spohr’s concerto, was executed by Mr. Jacobsohn, which we can only reproach with a too severe and constant pressure of the bow upon the strings. But Mr. Jacobsohn plays, it must be conceded, with clearness and feeling, and he was just about to give the ‘Albumblatt’ anew, with a vastly increased roundness of tone, when the E string snapped, and his performance abruptly ended.”

“There was quite a gala night at Central Park Garden last evening. The entire programme was devoted to Wagner, and the particular school represented by that zealous apostle of the school of the future was illustrated in the most vivid manner. The ‘Flying Dutchman’ supplied an overture as an appropriate commencement, and extracts from the legend of ‘Tristan and Isolde,’ more unhappy lovers than even Romeo and Juliet, followed, the stormy ‘Kaiser March’ finishing the first part. The ‘Faust’ overture and selections from ‘Walkure’ made up the second part of the programme, and in the third part were well known selections from ‘Lohengrin’ and ‘Tannhauser.’ The soloists were Mr. Remmertz, baritone, and Mr. Jacobsohn, violinist. It is safe to say that there is no orchestra on either side of the Atlantic more capable of rendering in the highest degree of perfection a programme so varied and so replete with technical difficulties. It is a bold and extremely hazardous undertaking to attempt to entertain a summer garden audience for three hours on a warm evening with such strong musical food as Wagner provides; but, with such an orchestra, it becomes actually palatable. The discipline of Thomas’ orchestra has already been acknowledged as perfect, and in the interpretation of Wagner’s peculiar music this rare body of musicians excel themselves. Long study, individual virtuoso talent and a conductor like Thomas could only make a success of such a programme. The conductor’s presence is all powerful with this orchestra.”

“New York, August 9. Besides the regular classical Thursday evening concerts, Mr. Thomas is now giving on Tuesday evenings a series of programmes each of which is made up entirely from the works of one composer; thus we have already had a Wagner night and a Beethoven night as follows [programmes follow for July 27 (Wagner)—see above, and August 3 (Beethoven)--see August 3 concert].

Most of the Wagner music is already familiar to us, but the Albumblatt was heard for the first time. It is a real melody, and it was played by Mr. Jacobsohn with remarkable skill and refinement. A repetition of this piece was demanded, but the second performance was cut short by the breaking of a string in Mr. Jacobsohn’s violin. The ‘Evening Star’ Romance from Tannhäuser was rendered with good effect by Mr. Remmertz, whose fine, full voice and dignified style always make a favorable impression.

In the ballet music from Beethoven’s Prometheus… [refers to the Beethoven concert].

The attendance at both concerts was very large; and the Thursday evening concerts are also well patronized. The audience on other nights is not so large; but the patronage is fair considering the number of people who are out of town. The programme for each evening is made up with so much care and so skillfully arranged that it is hard to make a distinction, even in favor of Thursday evenings, the only difference now being that a Symphony is usually added to the list.”