Theodore Thomas Symphony Concert

Descriptive analysis of Mendelssohn’s fifth symphony.

Includes program.

“Mr. Thomas’ matinee concert, which took place at Steinway Hall yesterday, was probably the last entertainment to be given by that gentleman before he takes up his summer abode at the Central Park Garden. During yesterday’s performance, the music from ‘Die Walkuere’ and ‘Die Meistersinger,’ vocal and instrumental, was repeated. It produced a deep impression, the broad phrases rolling forth with what seemed to be resistless force, and fairly carrying the hearer into dream-land; if the power of its charm is so great when the context is wanting, its beauty and eloquence must indeed be matchless when enjoyed as part of a grand and well-proportioned whole. Mr. Bischoff, although still so nervous as to be very uncertain, sang better than on Friday night, and appears likely to approve himself, thanks to an excellent voice and exceptional fire of delivery, a capital interpreter of Wagner. Two additional vocal numbers were supplied by Miss Cary, who rendered ‘Voi che sapete’ and ‘Non conosci,’ from ‘Mignon,’ the latter composition, by the way, compelling the contralto to rather force her voice on its highest notes. The orchestral pieces were [see above].”

“The matinée given by Theodore Thomas on Saturday at Steinway Hall as his best concert of the season drew a crowded house. The programme was rather light, but [illegible] to give unbounded satisfaction to the audience, and indeed contained [illegible] serious work as well as pleasant trifles and novelties. The following were the selections [see above].

The Reformation Symphony was first produced in America at the triennial festival of the Boston Handel and Haydn Society in 1868, and it was given by Theodore Thomas in New York a few days later. Since that time the whole work has never been heard in this city, though the Scherzo is familiar to the frequenters of the Garden Concerts. Mendelssohn was undoubtedly right in withholding it from publication, and though it is interesting as a relic of one of the most fascinating of modern musicians, and contains many beautiful passages, such as the flute solo which begins the choral in the third movement, and the merry Scherzo which breaks into the solemn measures like a mischievous youngster disturbing divine service, it certainly is not worthy of the composer of the Scotch and Italian Symphonies, nor can it be said to have won its place in the classical repertory of the orchestra. The most impressive number of the programme was the last. The beautiful Introduction to the third Act of the ‘Meistersinger’ is already familiar to us, but it betrays new charms and deeper significance in the skillful arrangement there presented. At the close of the Introduction, the orchestra plays a few bars illustrating the festive gathering on the day of the lyric contest, and then Walter breaks out with that superb, passionate and melodious song, which is to win the prize. Fragments and suggestions of it have been heard all through the opera, and it appears also in the well-known overture which brings Thomas’s arrangement to an end with one of the most brilliant and forcible of all Wagner’s orchestral creations. Mr. Bischoff sang better on Saturday than he did the previous night,--better not only in the ‘Meistersinger’ but the Love Song from the ‘Walkure.’ The latter remarkable piece will be relished more and more keenly the oftener it is heard.”

“On Saturday afternoon Mr. Theodore Thomas gave his farewell matinée at Steinway Hall. Mendelssohn’s Reformation symphony, the first piece on the programme, was listened to with rapt attention by the vast audience, which observed the strictest silence throughout, and at the close of each movement broke forth into loud and long-continued applause. The delivery of the Allegro movement was remarkably fiery and energetic. The succeeding short movement was greatly admired, especially the middle part, where gracefully-flowing melodies are accompanied by shakes and other embellishments. Then the Andante with its pathetic strains, its peculiar expression of solicitude, longing and yearning to which we have already referred, was given in a most eloquent manner and did not fail to please. The grand Finale, which has for one of its principal themes the choral theme that is used by Meyerbeer in ‘Les Huguenots,’ and is identified directly with the work prosecuted by Luther, was played with great splendor and wealth of tone, and in other respects was exhibited in the most attractive manner. Miss Annie Louise Cary than sang Mozart’s celebrated aria ‘Voi che sapete,’ from ‘Le Nozze di Figaro,’ exceedingly well. It was transposed into the key of G major, at which elevation it was admirably well suited to display to the best advantage Miss Cary’s remarkably full-toned voice.

Schumann’s ‘Abendlied’ was then played extremely soft, the stringed band being muted. This unpretending little piece gave evident delight. Haydn’s Serenade was also well received. Then came the love song of Siegmund from the first act of the ‘Walkuere,’ which was sung even better by Mr. Bischoff than on the evening previous at the farewell concert. Beethoven’s great Leonore overture No. 2 then followed, and being performed in the faultless manner which distinguishes this exceptionally fine orchestra, was also extremely welcome. Miss Cary then sang the romance from Thomas’s ‘Mignon,’ ‘Non conosci quel suolo,’ very charmingly, and was, as before, repeatedly recalled, but she did not accede to the demand for an encore.

In such a programme, the inherent weakness of the music of Ambroise Thomas was made most evident. Even the admirable voice and singing of Miss Cary and the refined and delicate execution of the accompaniment could not hide or atone for the extreme poverty of the musical ideas. Far different was the succeeding selection from ‘Die Meistersinger,’ that included the Prize song of Walther, which was delivered so satisfactorily by Mr. Bischoff.

The sublimity, ineffable beauty and mysterious power of this Wagnerian music is a theme which one would gladly dwell upon did space permit. The audience rose and departed regretful that such magnificent music would not be heard again here for some time to come.”

Reiteration of the concert’s program, which the reviewer apparently did not attend. List of the programs for Thomas’s series of six concerts for the past season appended.