Theodore Thomas Public Rehearsal

Includes program. 

Descriptive analysis of the program, with the exception of the Hofmann symphony. 

Descriptive analysis. 

“The public rehearsal for Thomas’s fourth Symphony Concert was given yesterday afternoon. It was of course entirely successful. The programme was one of peculiar interest, for of the six pieces presented only two had ever been played in New York, and three were recent compositions. A grand performance of Beethoven’s Fourth Symphony opened the concert, and this was followed by a concerto of Bach’s for two violins with string orchestra,--a delicious work which ought to achieve an instantaneous popularity. The rest of the selections were by new men,--the ‘Hungarian Dances’ by Brahms, introduced at the last Philharmonic Concert in Brooklyn; the Raff piano-forte concerto, charmingly played by Mrs. Madeline Schiller; and lastly the new ‘Frithjof’ Symphony, by Hofmann, a picturesque and brilliant tone-picture of which we shall have more to say after the concert on Saturday.”

“The last rehearsal of Theodore Thomas’s fourth symphony concert took place yesterday afternoon at Steinway Hall. Mr. Thomas is especially to be commended for the enterprise and energy which causes him to place so constantly before the public new and beautiful works. Beethoven’s symphony in B, the first number of the programme, was the only piece not marked new. This, with a concerto for two violins, and the wild and characteristic Hungarian dances arranged by Brahms, formed the first part, while the second consisted of a concerto for piano and the ‘Frithjof’ symphony composed by Heinrich Hofman.

This creditable though probably ephemeral composition bears unmistakable proofs of the influences of the modern orchestral school. Long phrases of beautiful melody, effective combinations of flute, oboe, clarionette, and bassoon, a frequent use of the sordini, some harmonies of the future, a lack interesting development of uninteresting figures, a wealth of sentiment, or what is called ‘tone poem,’ and some capital elfin designs after the models of Mendelssohn, Raff, and Wagner, are the salient features of this new symphony, to a fuller consideration of which we shall return after the final performance of it, which will take place at the concert to be given on Saturday evening.”

“Yesterday afternoon at Steinway Hall the music to be performed at the fourth symphony concert of Mr. Theodore Thomas to-morrow evening was publicly rehearsed. The audience, which was largely composed of ladies, appeared to be a highly appreciative one. The utmost silence was preserved during the performance of the music, and even remained unbroken until the final chord of the ‘Frithjof’ symphony. Beethoven’s symphony in B-flat was remarkably well given. The beautiful Adagio is seldom so admirably delivered as it was on this occasion. The Finale was taken at full speed, and the details could all be most clearly defined. The concerto by Bach for two violins was also admirably performed. Messrs. S. E. Jacobson and Richard Arnold were the soloists, and the accompaniments were played by four violins, four second violins, two violas, two ‘cellos, and one double bass.

The final movement (Vivace) in the minor key terminating in the ancient manner with the major chord, was loudly applauded. The succeeding Largo was greatly admired from its deeply pathetic character. The soul-stirring, eloquent utterances, the passionate earnestness and deep-felt emotion manifested in this wonderful movement no words can fitly express. Mr. Jacobson’s tone appeared firm, strong and penetrating when compared with that of Mr. Arnold, which was most remarkable for its full, round and liquid quality. But these artists are not rivals; and we may well suppose that no idea of comparison or competition was entertained by either, excepting, perhaps, that noble emulation, that each should exert himself to the utmost, and thus worthily co-operate in the production of this great artistic work; and that each should incite the other to redouble his efforts by the display of interest and enthusiasm in his style of delivery. In this consists one of the greatest charms of such performances. If even only the notion of virtuosity were to intrude, one would cease to experience complete satisfaction. Although considerable gratification may be derived from regarding the countenance of an artist, and noticing its every-varying expression during performance, yet he stands between the composer’s ideal and those who apprehend it, and being merely the medium, has, in point of fact, no independent existence. In no case should his individuality be thrust forward, for he is bound to express the ideas of the composer who calls him in being, and not to express himself.

The Allegro was equally well received by the audience. The Hungarian dances by Brahms were thoroughly enjoyed. The first, which is led off by the first violins playing the melody on the fourth string, formed a marked contrast to the preceding Bach music. The second, with its whimsical opening melody for the oboes, and the third, with its rapid motion and strange vagaries, were also greatly enjoyed.

In Raff’s new piano-forte concerto in C minor, Madame Madeline Schiller was introduced to her first New York audience. On entering, she was not warmly greeted, but at the very first opportunity which presented itself marks of favor were freely accorded, and at the close of each movement the applause was loud, unanimous and prolonged. We may therefore conclude this was a tribute to her as an accomplished artist, and not simply a mark of courtesy or kindness to one having the natural diffidence of a stranger. Madame Schiller is probably desirous of gaining the good opinion and favorable regard from our audiences which has been freely accorded elsewhere, and would probably have felt flattered if on first coming forward she had been greeted encouragingly; but she will value future recognition from New York audiences the more being convinced that their praises are not indiscriminately bestowed. Her delicate, sensitive touch and pearly tone were observed at the first rapid pianissimo passage of the opening Allegro, and her ability in the attainment of a fortissimo was displayed in the florid accompaniment to the second subject when it is delivered by the brass instruments. In the Andante and Finale her great abilities were made equally evident, and at the close of the concerto she retired to be recalled more than once by enthusiastic admirers. We anticipate for her a triumphal success on Saturday evening, and though from this one piece it is hardly possible to estimate fully the powers of an artist, yet it is, perhaps, not too much to say of Madame Schiller that she is the best classical pianist who has visited New York since the departure of Rubinstein. Of the wonderful manner in which Raff has combined his themes in this highly artistic work we have already spoken. The various melodies are woven together so closely that the texture is most elaborate. This intertwining frequently passes unobserved by the musically uneducated, but when attention is directed towards it the wonderfully pre-eminent dramatic power of orchestral music is at once made evident.

In the trio of the Andante, for instance, we hear simultaneously its own proper melody and the accompanimental ascending scales, the lovely opening theme imitating itself in canonic form, and also the initial motive of the composition, to say nothing of obligato subsidiary expressions. The concensus [sic] of all these individual parts results in the formation of progressions of great complexity, which though highly involved are yet so wonderfully managed that all the melodies are clearly distinguishable, and the mentally-active auditor, following their evolutions, will be amply rewarded for his pains. He will notice multitudinous voices, dramatically opposed and contrasted, becoming more and more emphatic and earnest, till at some particular junction the grandest imaginable results are attained, where the casual listener perceives merely an ordinary working upward to a climax.”

“From the public rehearsal of the programme, Thursday, a performance of uncommon interest may be counted upon [in the Saturday evening performance]. Mme. Schiller plays Raff’s piano concerto admirably, and the work itself is full of charm and merit.”