Thomas Central Park Garden Concert

Includes program. 

Discussion of selected works to be performed at the forthcoming concert. 

Includes program. 

“The concert at the Central Park Garden last night was devoted entirely to Scandinavian composers. With the following varied and interesting programme [see above].

The brilliant and finely wrought March and Overture by Svendsen were played with unusual splendor, the magnificent tone of the wind instruments, in which this orchestra is so far before all others, telling here with startling effect. These two pieces, as well as Gade’s beautiful Overture ‘In the Highlands,’ and the selections in the third Part, are familiar favorites. Mr. Hamerick’s second Norse Suite is entirely new, and the Grieg concerto, a very recent composition, has been played here only once before. The Suite is conceived in a much more serious vein than the companion work of the accomplished director of the Baltimore Peabody Concerts which has met with so much favor heretofore. In some respects,--in strength, masculine spirit, and ingenious harmonic treatment, and in strict adherence to the rugged and romantic characteristics of the northern muse,--perhaps [illegible] certain charming contrasts of instrumentation,--No. 2 is superior to its predecessor. It lacks, however, certain elements of grace and beauty which were fascinating in the other, and is somewhat deficient in variety.

Of Grieg’s Concerto we wrote a year ago in terms of cordial praise, and the performance last night confirmed us in our opinion that it is one of the most beautiful, most original, and most perfectly constructed works of its class produced of late in any country. Piano and orchestra both have a wonderful task to achieve, but their parts are so deftly interwoven that very few of the great difficulties of the composition are apparent to the ordinary listener. The playing of the band all through was unusually majestic; and so far as this went, the interpretation was the most brilliant possible. The pianist, Mr. S. Liebling, a young man of 16 and a pupil of Franz Bendel, risked a great deal in choosing such an exacting work for his first appearance. He made, however, a decided success. His handling of the concerto was more remarkable for delicacy than breadth, and though it was technically smooth and in many passages extremely poetical, we were conscious of a lack of fire and of too calm a spirit. Recalled, however, he played an amazingly difficult arrangement by Tausig of one of Chopin’s waltzes with a brilliancy which took the house by storm.

The audience was enormous. It should be noted that the management of the Garden is now in Theodore Thomas’s own hands.” 

“The most interesting incident of last evening’s concert at the Central Park Garden was the first appearance in this country of Mr. S. Liebling, a young pianist, who has come hither after a course of study under Kuliak and the late Franz Bendel. Mr. Liebling, whose age is about sixteen, produced a very favorable impression, which will doubtless be deepened by future performances in halls where the quality of his tone can be analyzed with greater certainty. In respect of intelligent and tasteful reading, and clean and brilliant execution, nothing better could be desired. The débutant interpreted Grieg’s concerto in A minor, which was first executed in New-York, if we mistake not, by Herr Boscowitz, whose scholarly and vigorous work, the effect of which was rather lessened by personal mannerisms more amusing than offensive, was duly referred to in this place. Mr. Liebling rendered the concerto, which bears a strong resemblance to Schumann, while it lacks the unvarying substantiality of that composer’s writings, with steady precision, neatness, and fire. Possibly in the presto passages of the finale a little more wrist-power would have been acceptable, but increased strength can scarcely fail to come with the manhood from which Mr. Liebling is still distant. The thoroughly earnest delivery, the clear definition of the notes in the most ornate portions of the concerto, and, in brief, the characteristics of a complete mastery of technique united to those of a thoroughly artistic temperament, cast quite a spell upon the listeners, who insisted upon the pianist’s reappearance. As an encore he played a caprice of Chopin, and although we did not exactly approve of the tempo, for which, however, we admit that the player has good German authority, the piece served to show in the strongest light his command of the keys. The orchestral selections consisted wholly of Scandinavian music, which we cannot but consider somewhat fragmentary and thin. The achievements of Svendsen, Hamerick, Gade, e tutti quanti, are a welcome relief from more massive music, but they are marked by more prettiness than symmetry of design or richness of color. Still, Hamerick’s ‘Nordish Suite’ No. 2 is interesting on account of its quaint themes, and, indeed, of every number of the programme almost as much can be said, the originality of the motives being strikingly refreshing. The audience, we are glad to observe, was exceedingly large.”

“The concert hall and grounds of the Central Park Garden were filled last evening with a distinguished company who assembled to hear a selection of music by Scandinavian composers, and to witness the first appearance in New York of the young and gifted pianist, Mr. S. Liebling. The concert began with Svendsen’s grand Coronation March, which, we have said, is scored with great richness for the orchestra. On account of the peculiar acoustic qualities of the hall by which the brass instruments gain greatly in effect, this noble composition was heard to advantage. The Nordish Suite, by Hamerick, notwithstanding its many excellent points failed to create much interest. This may partly be accounted for by the strangeness of the themes, some of which are extremely quaint. Gade’s overture, ‘Im Hochland,’ (In the Highlands) had the advantage of immediately succeeding the suite, and was therefore more fully appreciated. Mr. S. Liebling was warmly received. The Grieg concerto was performed entirely from memory, and with certainty and ease. Owing to the acoustic properties of the hall, of which we have just spoken, and the fact that the brass instruments in the forte parts were freely employed, some of the piano-forte passages were inaudible; but the tone produced by Mr. Liebling was not wanting in masculine vigor. With the greatest possible good will on the part of the audience to maintain silence, there are many sounds heard from without the hall which operate to mar the complete enjoyment of the music in its softest parts. The sounds of the car-bells and signal-whistles that regulate traffic still intrude upon and mingle with the tones of instruments dedicated to the service of art. For this reason it seems scarcely fair to pronounce an opinion respecting the ability of Mr. Liebling to draw from the instrument its most persuasive tones until he is heard in a hall better suited to solo performances. His interpretation of the concerto was marked by great intelligence. The audience frequently recalled, in the most gratifying manner, this young aspirant to musical honors, who then played Chopin’s Waltz in D flat, which was also received with favor. It was not, however, performed as written. Additional parts were added which increased the difficulty of the piece and overweighted the melody, occasionally obscuring it. The ‘Invitation’ Waltz of Weber has received similar treatment at the hands of Fausig, but it is doubtful if such proceedings should be followed as precedents. Svendsen’s Symphonic Introduction to the drama ‘Sigurd Siembe’ closed the second part of the concert.

The third part consisted of the fairy overture, ‘Aladdin,’ by Horneman, which was listened to with almost breathless attention; Soedermann’s ‘Wedding March,’ Lumbye’s ‘Vision in a Dream,’ and his ‘Champagne’ Galop.”

“New York, Sept. 13, 1875. Few of the patrons of the Central Park Garden have realized the difficulties with which Mr. Thomas has had to contend during the past two months, and which his indomitable energy has enabled him to overcome. In July last Mr. Thomas was absent from two for a fortnight, during which time the concerts were successfully conducted by Mr. Dudley Buck. This short season of rest, which was absolutely necessary after a year of peculiarly trying work, was abruptly terminated by the sudden disappearance of the lessee of the Garden, leaving a large number of unsettled accounts.

It never rains, but it pours. This proverb was literally exemplified during the four stormy weeks which followed, when the very elements seemed to join in a conspiracy against the management of this favorite establishment, and to financial embarrassment was added the diminution of receipts caused by a long succession of rainy evenings. But here Theodore came to the rescue with a brilliant idea; that of giving a series of extra nights, one or two each week, to be devoted to some one great composer. This plan has proved eminently effective in increasing the receipts at the door, while as a means of musical culture the programmes have surpassed everything which has gone before.

I will give them in the order in which they came without further comment. [See individual events for programs for August 3, 5, 10, 12, 17, 19, 24, 26, and 31. Programs for September 2, 4, 7, 9, and 11 are beyond the scope of “Music in Gotham.”]