Thomas Central Park Garden Concert

Includes program; “One hundredth concert; grand Beethoven night.”

Includes program. 

“The Beethoven programme at the Central Park Garden last night drew an audience which greatly outnumbered even that of the Mozart night, and filled the establishment to overflowing. The following were the selections [see above].

We have no recollection of any previous performance in this country of the four overtures to ‘Fidelio’ on the same evening. A more interesting and curious entertainment could hardly have been devised for such an occasion. As the four pieces stood last night, in the numerical order commonly assigned to them, we probably did not have them in the order in which they were composed, but the succession was an effective one for concert purposes, and as they all represent the same [illegible] period in Beethoven’s artistic development the slight chronological disarrangement was of no consequence. The researches of Herr Nottebohm have made it pretty clear that Opus 138, known as the 1^st ‘Leonora’ overture, was not written until 1807, No. 2 having been composed in 1805, No. 3 in 1806, and No. 4 (‘Fidelio’) in 1814. It is a curious fact however that none of them was given with the initial performance of the opera, the first representation having taken place with another work of Beethoven’s borrowed for the occasion as an introduction. Within a day or two the original first overture to ‘Leonora’ (that now erroneously called No. 2) was substituted for this makeshift; but the parts for the wind instruments were too difficult, and the composer was dissatisfied. When the opera was brought forward again in [illegible], Beethoven entirely recast this overture, retaining most of the original themes, adding new ones, giving it greater [illegible], compactness, and brilliancy, and so producing the magnificent ‘Leonora’ No. 3 (properly No. 2), the grandest of the whole series. Opus 138, called No. 1, but really No. 3, seems to have been composed for the representation of the opera at Prague in 1807, because the previous overture was too difficult for the strings, and also too long. It introduces the air of Florestan which figures so largely in both its predecessors, but its beauties are comparatively quiet and gentle, and it is conceived in a spirit so much less majestic that no one can wonder if the world has long agreed in assigning it an earlier origin. Why it was finally laid aside is not clear. It cannot have been because the composer undervalued it, for when he undertook in 1814 to write a new overture for the opera, now revised and named ‘Fidelio’ instead of ‘Leonora,’ he took this work of 1807, and began to recast it in the key of E major. This task however he laid aside, and wrote instead the bright and effective No. 4, which contains an entirely fresh set of themes. These remarkable overtures were all played last night not only with exceptional spirit and magnetism, but with a beautifully clear and elegant reading which must have impressed the least attentive listener. Perhaps, however, the excellence of this part of the concert was even surpassed in the performance of the symphony,--one of the most perfect and thoroughly sympathetic we ever listened to. Thomas’s interpretation of this sublime work is remarkable for deep insight and for moving eloquence, and the listener who was not touched last night by the divine Allegretto or roused by the glorious Finale can have no music in his mind.” 

“The interpretation of a ‘Beethoven programme’ on the occasion of the one hundredth concert of the present season at the Central Park Garden, last evening, brought together a vast concourse of lovers of music. The composition which appealed most strongly to the appreciation of the audience was the Seventh Symphony, which made up the second part of the entertainment, and which was interpreted with infinite sympathy and delicacy by Mr. Thomas’ forces. The first portion of the performance was occupied by a rendering of the ‘Leonora-Fidelio’ overtures, four in number. The execution of these compositions in quick succession was listened to with great interest, and, if the judgment which long ago was pronounced as to the passing excellence of the third overture was only affirmed by yesterday’s test, this was at least interesting as showing the progressive molding of the lovely and inspiriting themes, from an original form of comparative vagueness, into a final shape of perfect proportion and beauty. The fourth overture produced somewhat of the effect of an anti-climax after the third, which was rapturously applauded. The concluding part of the programme embraced three movements of the septet and the ‘Egmont’ overture.”

“The hundredth summer-night concert was given last night at the Central Park Garden, and the occasion was marked by a program made up entirely of compositions by Beethoven.

The four orchestral preludes to this great master’s opera ‘Fidelio’ were performed for the first part of the concert. Then followed the Seventh Symphony, and the third part consisted of the Theme and Variations, Scherzo and Finale from the ‘Septet,’ and the overture to ‘Egmont.’ Of the three “Leonora’ overtures it would be as difficult to decide which is the most generally admired as to say which one was delivered with the greatest artistic skill yesterday by the unrivalled orchestra of Mr. Theodore Thomas. The visitors were highly gratified, and expressed by long and hearty applause their sense of indebtedness to the eminent conductor who had provided them such a glorious art-feast. The symphony was equally well enjoyed. It was insignificantly performed. One would willingly speak at length of the stately and grand introduction, and the joyously-animated Allegro, the peaceful and calm Andante, playful Scherzo and brilliant Finale. In the Allegro each instrument seems to be attempting to outvie the others in seeking some new means of giving expression to the universal feeling of rapturous felicity that rules the moment. In the Andante-quasi-Allegretto the joy is sobered down, as it were, by reflection and phileophic contemplation, into a deeper, holier peace. The Scherzo appears as introductory to the Finale, in which hilarity and sportive mirth, revelry and joviality are kept up without check or hindrance. It is a composition in every respect well worthy the high rank which has been accorded it by the common consent of artists; and although it is as familiar to many as ‘household words,’ yet it requires ability of no mean order to interpret it correctly and to deliver the whole in such a manner as to leave nothing to be desired—as is usual when the Thomas orchestra undertakes such works. It seems wholly unnecessary to say one word of praise respecting this organization. The Septet and ‘Egmont’ overture were also heard with delight, the audience testifying to the fact in the most enthusiastic manner. There was a particularly good attendance, the boxes being all occupied, and the vestibule as well as the hall crowded with people.”

“Mr. Theodore Thomas celebrated the one hundredth night of his concerts during his present season at Central Park Gardens last night with a programme made up entirely of Beethoven’s works. The bill was very choice and one calculated to bring out in full force all lovers of good music. Twenty-five hundred people were present, and the orchestra played all the works in the most magnificent manner. The following programme was rendered [see above].

The four overtures to the only opera ever written by Beethoven were played in superb style by the orchestra. They have never before in this country been presented in such direct contiguity. The symphony, the performance of which by this incomparable orchestra created such an excitement at Cincinnati, was a most delightful performance. The septet for string orchestra brought out the leading musicians of the band in a strong light. Such an occasion was worthy of the young leader and his band.”