Philharmonic Society of New York Concert: 5th

Includes program.

“The concert given by the Philharmonic Society at the Academy of Music last evening, although the programme included but one unfamiliar work, was quite interesting. The novelty was a violin-concerto, by Dr. Leopold Damrosch. Dr. Damrosch’s composition is a long fantasia, rather than a concerto, and impressed us as wanting, in a measure, both plan and proportions. Some of its passages are decidedly graceful, and the whole concerto bears evidence of the composer’s thorough knowledge of the capabilities of his instrument; its inferiority to the better-known achievements of Vieuxtemps and Wieniawski, not to mention the two standard concertos for violin by Beethoven and Mendelssohn, is the result mainly of the lack of form already referred to, and of the abundance of reminiscences, which show that Dr. Damrosch is more studious and ingenious than creative. The composer, who interpreted his work, is a violinist whose tone is sweet if thin, and who has great command of the violin, although his attack and his stopping might occasionally be firmer. The florid parts of the concerto made clear Dr. Damrosch’s brilliancy of execution; his cantabile was good; the double notes and the staccato runs were somewhat deficient in vigor. The orchestral selections of the night included Mozart’s symphony, no. 1, in D major, which was charmingly rendered; the ‘Lenore’ overture No. 3, which we have heard with more pleasure than the performance of Mr. Bergmann’s men afforded us; the overture to ‘The Flying Dutchman,’ a stormy prelude in Wagner’s first manner, in the delicious adagio of which the fine tone of the Philharmonic orchestra was particularly effective.”

“A very large audience attended the Philharmonic concert at the Academy last night. The following programme was rendered [see above].

Of the forty-nine symphonies created by the prolific brain of Mozart we are in possession of only twelve. The cheerful, melodic, simple style of the great composer is shown pre-eminently in the first of those works. It is, indeed, a relief from the heavy, burdensome orchestration of the present day, and with such a fine interpretation as the large orchestra of the Philharmonic Society gave it last night the old symphony was a delightful treat. The true, classic, symphonic form, which existed before the great innovator, Beethoven, began his work, is exemplified in Mozart’s first symphony. The reed passages in the last movement for oboes, flutes and bassoons were played to a charm. It was fitting that after Mozart should come Beethoven. He was represented by one of those wonderful overtures written for his opera of ‘Fidelio.’ Then came the gentle Mendelssohn in one of his loveliest works, the charming setting of Scotch songs in symphonic form. The school of the present day (no longer of the future) was represented by one of Wagner’s earliest and weakest works. The soloist on the occasion, Dr. Damrosch, is a musician of undoubted talent as a virtuoso, composer, conductor and organizer of choral societies. But the work which he introduced last evening is entirely unworthy of him. It shows marks of labor and knowledge of instrumental effect, but its materials seem to have been taken at haphazard from every known composer, thereby giving it a very patchy appearance. It is in three movements, and inordinately long. The second movement, the andante, is the best part of the work, and it is very cleverly worked out. The composer did not do himself justice in the performance of his own work, his playing being hard and unsympathetic.”

“The fifth concert of the New-York Philharmonic Society (thirty-third season), given under Mr. Bergmann’s direction on Saturday night, presented the following varied programme [see above].

The Mozart Symphony, written in a key for which the composer seems to have had a strong predilection (in one of his letters he speaks of choosing it for a symphony because it was a favorite key of his father’s), does not rank with the Jupiter, E flat, and G minor symphonies among his foremost works, but its elevation of spirit and beauty of form assert for it a very high place. We find in it a brightness that reminds us of the charming gayety of Haydn, and at the same time a freedom and dignity which belong only to Mozart in his best moments. It makes less use of the wind instruments than is customary nowadays (there are neither clarinets nor trombones, though the oboes and bassoons are employed with Mozart’s characteristic felicity), and the great force of the 70 stringed instruments in the Philharmonic orchestra told with an effect which made amends for certain deficiencies in the performance. There was more vitality and élan in the rendering of the great ‘Leonora’ overture, and more still in the popular Scotch symphony.  The interesting and picturesque overture of Wagner’s was much less satisfactory.

Dr. Damrosch’s new concerto consists of the orthodox three movements (allegro—andante—Allegro), the first two of which are conceived almost in the gentle and persuasive vein of a Reverie, while the third is in the bravura style. The work is thoroughly modern first in the freedom of its rhythms and modulations, and secondly in the importance of the orchestral part. Although it is very difficult, it never sacrifices a poetic idea for the purpose of technical display. It is deliciously graceful and elegant, and the first two movements are full of the most refined feeling. The instrumentation is all beautiful, and the whole effect of the work extremely happy. Dr. Damrosch played with ease, sentiment, and polish, and was rewarded with the heartiest applause.”

“On Saturday evening the fifth concert of the New York Philharmonic Society’s present season was given at the Academy of Music. The attendance was particularly large, and the audience was evidently highly gratified with the performances.

Mozart’s symphony in D major was the first piece on the programme and was greatly admired; especially the Allegro movement that reminds one somewhat of the Allegro in the overture to ‘Don Giovanni,’ and the Andante, beginning with a gracefully flowing melody in the key of G major. The audience was comfortably seated before the beginning of the symphony, and those few persons who came late sought their seats during the short pauses between each movement, and thus the music was enjoyed free from slight interruptions. Dr. Leopold Damrosch then appeared to execute his new violin concerto in D minor and was greeted with loud applause. The work consists of the usual three movements, and possesses many very interesting points which did not pass unnoticed. At all convenient places the audience signified their approval in the usual manner. The performance of Dr. Damrosch was most artistic and entitled to great praise, and the composition is the work of a practiced musician. It seemed, however, to be wanting in breadth and masculine vigor, and in tangible themes consistently developed. If occasionally a tolerably long fortissimo passage had employed the full powers of the orchestra, and if the subjects had been more fully worked out, so that a deeper impression might have been made by them, the work would probably have given greater pleasure. It is always difficult to suggest improvements in any work of art, and the composer may merely have wished to write movements characterized by great passionate excitement and melancholy, great delicacy of feeling and tenderness, in which case solid masses of tone and dignified, noble phrases might have appeared out of place. The passage work for the solo instrument was very elaborate, and consisted of a long series of phrases which individually were found to be very beautiful, but a certain want of unity was perceived from the apparent absence of some central musical idea—some principal theme which by being exhibited in many varied aspects would become a particular object of thought. In this respect it appeared more like a fantasie than a concerto in classic style. No want of unity was perceived in the work as far as regards its spiritual significance, for this was true to itself and thoroughly consistent throughout. We have been unable to obtain a glance at the score, and therefore can merely speak of the passing impression produced by the performance. This was most admirable, and afterwards Dr. Damrosch was recalled during loud and prolonged applause.

Beethoven’s third Lenore overture was then played, which for the first time brought into play the great resources of the full orchestra. Beethoven, in these great orchestral preludes, has shown modern artists how earnestly he sought to perfect his work. We see him, as it were, condensing some portions, expanding others, rejecting one idea and selecting another, altering the orchestration, strengthening here and polishing there, till the wonderful product of his creative love is finished in perfect beauty.

The great force and dramatic character of this third overture is perceived at once by all. It was magnificently performed. Mendelssohn’s ‘Scotch’ symphony in A minor could not fail to please. Its slightly-complaining, sorrowful opening passes over into the Allegro, in which an increase of excitability is at once apparent. The same dissatisfaction is herein expressed, though with greater agitation and fervency. The wild and stormy part towards its close was delivered in the most praiseworthy manner. The following lively and animated Vivace forms an agreeable contrast, and in its sprightliness seems to indicate a general merry-making. The Adagio brings the sounds of mourning and the voices of those who weep. The Allegro vivacissimo again changes the scene, and we have inspirited, bold, dashing and enlivening strains, which remind us of the manner of those who know no circumspection. Although in the oboe solo that is afterwards heard from the clarinet, and then receives immediate responses from the bassoon, a little faint heartedness becomes manifest—a certain expression of anxiety and apprehension—it is soon dispelled by the encouraging, enthusiastic utterances that are again immediately heard from all sides.

The succeeding Finale is a joyous song of triumph which indicates that complete satisfaction and general well-being prevail, and thus this highly interesting work is brought to a fitting conclusion.

Wagner’s brilliant overture ‘The Flying Dutchman’ closed the concert. In this graphic work both stormy waves and stormy passions are perceived, a flood is stirred up and a soul is stirred up; we hear thunder and imprecations, and behold the ‘convulsions of nature and of a despairing heart,’ the wildly-raging hurricane and the tempest of passion. The conclusion is as the voice of rapture and ecstatic bliss, which fascinates us in a new and surprising manner. In this coda the harp plays a most important part, which was most unaccountably entirely omitted. This is to be regretted, for the performance was in all other respects entirely satisfactory.”

“New York, April 12. At the fifth concert of the N. Y. Philharmonic Society, on Saturday evening March 20, the following programme was given [see above].

In Mozart’s graceful work passages of airy playfulness alternate with themes of grave tenderness, almost sadness, although in all of Mozart’s music there is a smile behind the tears. The Mendelssohn symphony is the outcome of what the composer called his ‘misty Scotch mood;’ and a wonderfully suggestive mood it is. There is no finer piece of tone-painting.

Both these works, as well as the ‘Leonora’ overture, were well performed. An attempt to play the overture to the ‘Flying Dutchman,’ an interesting specimen of Wagner’s earliest style, resulted in utter failure, the piece being distorted almost beyond recognition. It is no disgrace not to be able to play Wagner’s music, which opens a field of special study and demands an immense amount of practice, but it is unfair to give performances which are merely a burlesque of the composer’s style. [Is it not sometimes a burlesque on itself? ED.]

Dr. Damrosch is an excellent violinist, and a musician who has rendered valuable service in the advancement of music in our city; but the most indulgent of his hearers must have found his violin concerto disappointing and wearisome. A good deal of skill and ingenuity as well as hard study were shown in its construction; but the work is not artistic nor well balanced.”