Philharmonic Society of New York Public Rehearsal

“Yesterday afternoon the second rehearsal for the fourth concert of the present season of the New York Philharmonic was held at the Academy of Music. There was a very good attendance. The Symphony in C minor by Spohr, being delivered remarkably well, was heard with delight. This work contains the characteristic qualities and strongly-marked mannerisms which distinguish the style of its gifted composer. Extreme delicacy of finish in all technical matters, and refinement of feeling, are everywhere perceptible. Novel chords, complex rhythms, delicious orchestral coloring, chromatic progressions, beautiful and unexpected modulations and interesting melodic parts for all the performers are therefore found in this great work.

The short opening, Andante Grave, in the key of C minor, and in common time (1/2=56), begins with a short phrase for the stringed instruments which is heard again in the succeeding Allegro. This movement is in the same key, 6-8 time, and 2/8=112. It begins with a melodious subject for the violins, which has a very graceful motion. This theme is soon heard from the flutes, and after a series of grand episodal harmonies it reappears in the major key, played on the clarinet. Then another fortissimo episode occurs, and the initial phrase of the introduction is inserted. This Allegro is in regular classic form. The Larghetto is in F major and and 9-8 time—3-8=50. It begins with a gently flowing theme in four part harmony for the stringed instruments, followed by a second subject which is led off by the violoncellos. This is an unbroken, ascending passage, which on arriving at an emphatic note returns by descending chromatically; meanwhile the violins have taken up the theme. Subsequently a very interesting solo is given to the horn, which, rising to high ‘D,’ is not particularly easy to execute with smoothness. On this occasion, however, it came forth without a blemish. The Larghetto ends with a recapitulation of the first division.

The following Scherzo is in C minor and 6-4 time—3/4=92. It begins in unison with a passage which has a waving motion. The second half of this phrase is in harmony. The Trio is led off with an attractive melody for first violins, that gradually ascends an octave to an emphatic note, on which the theme is started anew by other instruments. These interlacings of the melody and antiphonal responses from various parts of the orchestra make the Trio particularly interesting. After its conclusion the Scherzo proper is repeated, and thus the movement obtains the usual tripartite form.

The Finale Allegro is in C major and common time—1/3=132.

It is led off by the violins playing the principal theme unaccompanied. This theme is treated in fugal form in the second division, and the entries are planned in the following order: Cellos, violas, second violins, first violins, double basses, and lastly, the trombones; then with a roll on the tympani on the dominant the second division closes, and the third part begins, which is a résumé of the first.

The performance was remarkable for its excessive smoothness; and all the parts, especially those for the brass instruments, were rendered with great care. The music of Spohr is characterized by a peculiar gliding motion and even flow, the result of the over-refinement and polish which, even in the grandest parts, is observable in the smallest details. The transitions to distant keys and the melodic steps are conducted with such facility even in the most intricate webs of harmony, and the heavy brass instruments are generally made to begin to play so very softly—to steal in, as it were, almost imperceptibly—that, notwiwthstanding the extreme beauty of the ideas and their mode of manifestation, one occasionally notices a faint desire, if not an actual wish, for an exhibition of greater force. Then a vigorous, energetic, lusty and strong style would seem to be doubly invigorating and inspiring.

The brilliant and dashing overture by Weber, ‘Ruler of the Spirits,’ which followed, formed a remarkable contrast to the symphony.

Its wild, vehement, impetuous opening immediately showed it to be diametrically opposed in manner to the gentle, tranquil and soothing music of Spohr.

Yet, though it was played at full speed, and with considerable breadth and fullness of tone, its delivery was not marked by the fierce, violent, ungovernable onward rush which it sometimes obtains. Even the first sudden pause did not appear so startling and abrupt as on other occasions. We have heard it delivered as it were with the almost demoniacal fury of the arch-fiend.

Liszt’s ‘Tasso’ was admirably well interpreted. It is extremely difficult to make so large an orchestra agree as to the precise manner in which this delicate and highly poetical work should be rendered. But those difficulties are being rapidly overcome, and one may reasonably anticipate a remarkably good performance of it at the concert. The full register of brass entered magnificently with the theme in E major. The part for the harp being omitted entirely, silences were observed that were not eloquent.

Lassen’s Fest-overture was exceedingly well performed, as on the former occasion. Mr. S. B. Mills will appear at the third rehearsal, and will probably play with the orchestra an important concerted piece, but the title of it is not yet announced.

The Philharmonic has accomplished much for the cause of high art in this city, and is, therefore, entitled to receive full ctredit for its labors in the past, as well as acknowledgements for its present exertions; but classical instrumental music in the fourth quarter of the present century will be greatly in advance of that of the second quarter, and, therefore, corresponding efforts must be made to keep pace with this rapidly developing form of art. Each succeeding concert seems artistically so much better than the preceding that it is a pity the society’s orchestra should be disbanded regularly after the usual six concerts have been given. For with each returning season it requires partly reorganizing, and unless preliminary and regular, systematic courses of discipline and drill are entered upon, one or two concerts are given before lost ground is recovered. The splendid performance of the new Raff symphony at the last concert was in itself sufficient to show what this powerful orchestra can achieve when it is in full working order.”