Theodore Thomas Symphony Concert: 6th

“The sixth and last symphony concert of the present season took place at Steinway Hall, last evening. There was an overflowing audience and much enthusiasm. The novel part of the programme consisted of a new piano concerto by Rubinstein. We shall not be quite au fait of the possibilities of this work until we hear it performed by the composer. It is an exceedingly trying piece, and, aside from its technical difficulties, it exacts an amount of physical power which does not dwell, to our knowledge, within the frame of any living pianist—Liszt perhaps excepted—save the writer. Miss Madeline Schiller recited the concerto creditably, and was thrice recalled at its close, but she was deficient in the force required to cope with the orchestra, and sometimes her execution was not so clear as we could have wished. The composition is divided into three movements, an allegro vivace, an andante, and an allegro. The second and briefest is the clearest and most melodious of all, and the last allegro is the finest, the piano passages balancing most effectively the orchestral parts, and bearing the stamp of uncommon fire and vigor of thought and rhythm. But the concerto is too important an achievement to be discussed after the two hearings afforded by Mr. Thomas. The effect was decisive, though analysis was impossible. It was preceded by Mozart’s ‘Jupiter’ Symphony, to the fugated finale of which the band did full justice and the second half of the evening was occupied by a capital rendering of Beethoven’s picturesque Seventh Symphony.”

“The last of the symphony concerts of Mr. Theodore Thomas was a very remarkable one in regard to programme. There were only three works performed, but they were worth a dozen of the ordinary numbers of a concert bill. Sandwiched between the ‘Jupiter’ Symphony of Mozart and the immortal Seventh Symphony (A major, opus 92) of Beethoven, was a new piano concerto, No. 5 in E flat, opus 94, by Rubinstein. Any work from the pen of the inspired Russian must be interesting to connoisseurs and to the musical public, and a great deal of interest was manifested in the production of a new piano work by him, especially after the furore created by his colossal D minor symphony a month ago. The pianiste last evening was Mme. Madeline Schiller, a lady of undoubted ability and considerable experience. The work is one of extraordinary length and boldness of treatment, and it is no small degree of praise to Mme. Schiller to say that she interpreted it intelligibly last evening, and never faltered during the forty-five minutes which it required for its performance. The concerto opens with an allegro moderato movement. The orchestra commences with a violin passage of a decidedly Schumann color, and after twenty-four measures the piano enters with a bold, stirring subject, which is afterward varied in every possible form. The passages in octaves which follow are very effective, and with the rich instrumentation give a favorable idea of the character of the work. The only objection which can be urged against this movement is its entire capriciousness and want of unity of idea; but it never lacks fire and fervid expression. Chopin-like chords and broken arpeggi occur constantly, besides chromatic runs from one end of the piano to the other, and in presto time at that, octave passages for both hands, double trills, also for both hands, and singular modulations, always returning to the first and predominant subject, announced by the piano at the beginning. The rhythmical peculiarity of the treatment of this theme is very interesting, as it is entirely at variance with all received ideas and seems to break away from the acknowledged standards. In the second movement, andante, the composer appears to be completely under the influence of Chopin—so many reminiscences appear. There are many passionate, telling, recitative passages in this movement. In the finale, allegro, there is a little hint of the Pastoral Symphony, a joyous theme, 6-8 time, suggestive of the merry month of May, and of terribly hard work for the pianiste. This movement was the most effective last evening, and Mme. Schiller and the orchestra made it tell in the most emphatic manner. It cannot be said that this concerto, although the composer modelled it on a colossal standard, the E flat major concerto of Beethoven, will rank with its predecessors by the same composer. Rubinstein’s concerto in D minor will always hold a position of pre-eminence among his piano works. 

Nearly 100 years have passed since the chef d’oeuvre of the most charming of all music writers was first presented to the world. It was given last evening with a heartiness and delicacy of expression that brought out its many beauties to the best advantage. The ‘Jupiter’ symphony of Mozart will always hold the first place in the heart of a musician while delicious melody and sweet harmony are considered as the chief exponents of the divine art. Then the sublime work of the successor of Mozart, the immortal Seventh Symphony that the Titan of orchestral composers, Beethoven, has left as a legacy to the world, formed a fitting close for the concert. As to the manner in which it was performed, it is only necessary to say that this inimitable orchestra fulfilled every requirement in clear, intelligent, expressive rendering that such a work would demand. It was a thoroughly attractive, enjoyable and artistic performance from beginning to end and one worthy of the fame of the hard working pioneer and successful advocate of classical music in America. To Theodore Thomas and his orchestra our public owe much of what they now can boast in knowledge of and acquaintance with the great works of the past and the present.”

“For the last of the subscription series of Symphony Concerts at Steinway Hall Theodore Thomas presented on Saturday night the following [illegible] programme [see above]. [America’s Historical Newspapers database: the remainder of the review is very difficult to read, and the right portion of the column disappears completely.]

“Theo. Thomas gave the last of his series of six subscription symphony concerts at Steinway Hall on Saturday evening. The room was crowded to overflowing, and the audience manifested the most hearty appreciation of an excellent programme.

Mozart’s Jupiter Symphony and the Seventh Symphony of Beethoven were rendered with all the exquisite finish and poetic coloring of which they are both so susceptible, and which Thomas’s orchestra is so preeminently capable of giving. The less familiar features of the programme were the Concerto no. 5 in E flat, for piano and orchestra, by Rubinstein, Mme. Madeline Schiller playing the piano part. This concerto is marked by boldness and novelty that become almost sensational. It is capricious, even to abruptness, as well in the variety of moods as in the versatile and ingenious development of the themes. Mme. Schiller played the pianoforte part with such thorough execution, intelligent perception, and artistic feeling as to win for her general admiration.”

“The series of subscription symphony concerts given by Mr. Theodore Thomas during the present season was completed on Saturday evening. Steinway Hall was filled with a highly critical and musically-intelligent audience.

Mozart’s ‘Jupiter’ symphony was given so admirably by his unrivalled orchestra that it was listened to with evident delight by all. Not only amateurs and music-lovers were found freely applauding, but even the oldest and most experienced students of music, to whom the symphonies of Haydn and Mozart have been familiar from earliest youth, and may therefore naturally have become as ‘oft-told tales,’ which have lost part of their original interest. The most ardent disciples of more modern schools are tempted to reconsider their position and some of their statements on hearing such exceptionally good performances of these earlier works.

Beethoven’s symphony in A was also equally well delivered. The passage for the second horn in the Presto, which is so commonly ‘bungled’ in European orchestras, and which therefore frequently excites the risibles of the audience, was executed in the most smooth and faultless manner. Beethoven more than once asserted that he could boldly say of this work that it was one of his best. Space does not here permit us to compare it with the other symphonies; but it may be distinguished as the most romantic and picturesque of the ‘immortal nine.’ The Allegretto movement was encored at the first performance of the symphony under the composer’s direction, and was for some time one of the few movements of Beethoven’s instrumental works that were tolerated in Paris. But since that period a deeper insight of the nature of musical art has been accorded the world at large, and now not only all Beethoven’s compositions are heard with delight, but also numberless others written by those who have accepted the principles and followed in the footsteps of the great masters. Yet some timid conservative musicians have steadily refused to believe that the spread of new ideas would prove a gain to art. Less than ten years ago the London Athenaeum remarked: ‘We regret to have to call attention to some increase of favor for Schumann’s music, conceding this to be a symptom not of progress but of retrogression.’ Similar statements may be heard even now respecting the productions of Wagner, Rubinstein and others, which the writers may wish subsequently to retract.

The great concerto in E flat, by Rubinstein, created considerable interest on Saturday evening, the work being new. It was performed by the composer at the Gewandhaus concert in Leipzig on the 15^th of February, when his ‘Symphonie Dramatique’ was also produced, and therefore the musical journals of Europe have recently been engaged in discussing its merits. The first few notes of the concerto are formed on the well-known incomplete scale of five sounds, and they are all subsequently harmonized by a simple major chord. In these respects the initial motive differs most markedly from that of the symphony in which the strangeness of the progression and the gloomy minor mode are at once perceptible. Presently a very similar passage at an increased pace is heard, which may lead many to suppose that the composer would employ his favorite rhythmical device of repeating a passage one and a half, two or three times the original speed; but no such mode or proceeding is adopted, and, as we have already shown, no phrases of three bars in length, or other such peculiarities which distinguish the symphony, are herein found. It is truly a great work, yet on comparison it does not appear to be equal to the symphony. Nor should this cause surprise, for concertos are generally inferior to symphonies. Setting aside all considerations respecting the elevation of one instrument over the others, and the providing of special elaboration for its effective display, the dramatization of the orchestra, &c., the fact remains for the present sufficient that even Beethoven’s greatest concertos do not rank with his greatest symphonies.

Madame Madeline Schiller performed with remarkable success and was loudly extolled. Between each movement the applause was enthusiastic and prolonged, and at the close she was recalled in the most gratifying manner.”

“Next on the concert list came Theodore Thomas’ sixth and last Symphony Concert of the season, which took place at Steinway Hall, on Saturday evening, April 10^th; two symphonies were performed in each of which the composer was represented at his best. Mozart by his Symphony in C, called ‘Jupiter,’ and Beethoven by the sublime seventh symphony, which is the very crystallization of the fullness of his powers. Both of these great works were splendidly interpreted, and the concert was such as befits the close of the season of more than ordinary success and artistic significance. The only remaining number upon the programme was Rubinstein’s new Concerto for piano and orchestra, No. 5, in E flat, Op. 94, played by Mme. Madeline Schiller. It is a work to be read between the lines and not hastily judged; the themes as a rule are given out boldly by the orchestra, repeated by the piano, and elaborated in a manner which would fairly test the powers of such a Titan among pianists as Rubinstein. Mme. Schiller played the concerto intelligently and well, receiving two rounds of applause after her performance.”