Theodore Thomas Public Rehearsal: 6th Concert

Descriptive analysis of the new piano concerto.

“Yesterday afternoon, at Steinway Hall, the music to be performed tomorrow at the last symphony concert of Mr. Theodore Thomas was publicly rehearsed.

Mozart’s fourth symphony, ‘The Jupiter,’ (opus 34) in C major, was the first piece on the programme. This symphony was composed in August, 1788, and yet is always welcome in the concert room. The bold, opening motive which is alternated with a graceful flowing phrase, and the lightly-tripping second subject are all equally admired; and these themes are combined and contrasted with such art that their beauty is fully revealed. The Andante cantabile received an interpretation in many respects new and interesting. One so often hears these well-known works played with such formality and stiffness, that special ‘readings’ are acceptable, if only of indications of a desire to avoid an indifferent rendering. Here, as elsewhere, it is universally true that the letter killeth, but the spirit giveth life. The Finale in the style of a free fugue was delivered with great force and vigor; and was greatly enjoyed.

Madame Madeline Schiller then appeared to undertake the new piano-forte concerto by Rubinstein, a review of which was given in these columns yesterday. This great work was listened to with almost breathless attention from beginning to end, and was most cordially received by a highly critical audience. Each movement was separately applauded; and at the close Madame Schiller was recalled. The lovely melody in the Allegro vivace marked Tempo rubato was made most attractive by the charming quality of tone obtained from the instrument, and the chromatic scales were remarkably liquid and smooth.

Probably the final movement was the one most enjoyed by the majority of the hearers on account of its more familiar style. It is led off by the piano-forte with a brilliant and dashing theme in the style of a hunting song, which is given in extenso, and is then taken up immediately by the orchestra. The movement being in the great Rondo form, this subject is frequently heard again, and thus by making renewed appeals it attracts special attention and soon becomes recognized on its return. Madame Schiller executed this difficult work most satisfactorily, and succeeded in producing in the last movement a bright, ringing quality of tone which was admirably well suited to the character of the music. Beethoven’s symphony in A formed the second part. It was executed in the most faultless manner, and was heard with delight.”