Theodore Thomas Symphony Concert Public Rehearsal: 1st

Discussion of program for forthcoming concert.

Includes program. 

“Theodore Thomas’s series of Symphony Concerts opened yesterday at Steinway Hall under the most encouraging circumstances. Between two and three thousand people attended the first rehearsal, filling almost every seat, and following the performance with the closest attention. There were none of the usual drawbacks of practice meetings, for the drudgery of preparation had been so thoroughly done beforehand that the programme was played straight through without interruptions. There was really nothing to distinguish the rehearsal therefore from a regular concert, and we shall be surprised if these afternoon entertainments do not become extremely popular. Two of the selections yesterday had the interest of novelty, for the ‘Harold’ Symphony of Berlioz, though not absolutely new to our concert rooms, is practically unknown by New-York connoisseurs in its complete shape. It is a work upon whose merits the sticklers for classical forms and the admirers of the modern school of progress and romanticism may clash in hot dispute; but there can hardly be a question that it captivated the audience yesterday, and the most prejudiced of critics must admit its extraordinary picturesqueness, brilliancy, and poetical spirit. The Grieg concerto for the piano-forte served to introduce to America a young Scandinavian composer upon whom the musical world now rests some of its brightest hopes. This work has made something of a sensation wherever it has been heard, and will not fail of warm admirers here. If it reminds us of one standard composer more than another it is Schumann, but in fact its distinguishing characteristics are all its own, and its originality is beyond all cavil. The piano part is of extreme difficulty, but Mr. Boscovitz, to whom the interpretation was intrusted, acquitted himself admirably. A superb performance of Beethoven’s Heroic Symphony brought the concert to a close. The orchestra consisted of about eighty players, Mr. Jacobsohn, of course, leading the violins, and Mr. Arnold taking the second place. The viola obbligato in the ‘Harold’ Symphony was played by Mr. Charles Baetens, and the harp by Mr. Lockwood.”

“The formal inauguration of this season’s series of Symphony Concerts brought together at Steinway Hall, yesterday, an audience filling the place. Mr. Thomas’ performances have long ranked with the chief attractions of the City, and the indications are, this Fall, that they will be regarded as first and foremost among Metropolitan entertainments. This distinction is equally creditable to the public and to the concerts. It indicates an appreciation of the highest order of music which could scarcely have been looked for five or six years ago, and, on the other hand, it shows that, good as Mr. Thomas’ programmes have been in the past, he constantly finds means to enhance their value. The interest taken in them is increasing steadily, season after season. The innovation of a public rehearsal prefacing each concert was tested yesterday, and proved the ever-growing popularity of Mr. Thomas’ recitals by its unqualified success. A few persons might attend the concerts proper as a matter of fashion, but the assembly, by daylight, of the feminine ton could only be effected by the influence of genuine love of music and a sincere admiration for the work of Mr. Thomas’ orchestra. We do not propose to deal further with yesterday’s rehearsal than to make mention of the foregoing facts, and to express our belief that the fresh series of concerts will be the most prosperous enterprises of the Winter. Mr. Thomas’ public rehearsals, we have only to add, are as finished as genuine performances, and as such might call for criticism, did not every new hearing of the efforts of his band disclose new beauties in the compositions and readings, and urge us to await the concerts. Let us, then, be content to say that on the occasion we refer to [lists works] were played, and that, between the two, a piano-concerto by Grieg, with orchestral accompaniment, was executed by Herr Boscovitz, loud applause–and plaudits at a matinée are plaudits indeed—being bestowed by the audience.”

“Steinway Hall was filled yesterday afternoon with a fashionable and highly appreciative audience, consisting principally of ladies, of whom it may be fairly assumed that their refined tastes and high culture led them to assemble on this occasion, when one of the finest orchestras in the world would be heard to perform the works of Beethoven and other great masters; for the utmost stillness pervaded all—one might almost say breathless attention was accorded—which was evidence of intense interest if not high gratification.

Although the meeting was arranged ostensibly for rehearsal, it was really for the benefit of the subscribers, that they might have the privilege of hearing the music twice, and not because the performers needed to study the works presented.

This orchestra performs with ease the greatest compositions that have been written, and the more difficult they are the more interested and enthusiastic each individual performer becomes, and therefore no one need ever assume when any strange effects are heard in highly ornate works, that they are due to defects in the rendering. For those reasons one may criticize the works and the style of their performance after attending a rehearsal. It is impossible to image what impression such a work as ‘Harold in Italy’ would make, if attempted by an orchestra, formed periodically for the purpose of giving a few concerts, whose members, including the conductor, might either be incompetent to execute the music technically or to apprehend the composer’s meaning so far as to be able to sympathize with his aims and interpret the composition aright. A representation of chaos might unintentionally be given; or worse; for mental aberrations would be indicated. Nothing but a most faultless performance of the ‘Orgies of Brigands’ would save the moment from being regarded as an inartistic, unmusical scramble, which would not even represent ‘most admired disorder.’

Mr. Theodore Thomas has the ability to produce such works, in the most satisfactory manner, and he deserves the thanks of all amateurs for giving opportunities to those who desire to hear representative works of all schools of art, whether they happen to be in favor or not; who prefer rather to hear and judge for themselves than be led to adopt opinions from theorists and critics. He treats his audience not entirely as pleasure-seekers who wish to hear some favorite piece, but as intelligent students of art who desire to have their conceptions of instrumental music enlarged by being made actually acquainted with the most important compositions in all styles, and who dread becoming so one-sided or narrow-minded as to deny the title of genius to those musicians whose works differ greatly in form and contents from the classic writers.

Whatever judgment may be passed eventually on Hector Berlioz it must be allowed, even by those whose opinions are most loudly proclaiming in his dispraise, that though he may have failed in some attempts he deserved to succeed for such honest and persistent efforts. Who shall say what he did not accomplish in pointing the way for Raff, Rubinstein, Liszt and others whose lovely symphonic poems are heard with delight!

Berlioz has chosen the viola to represent the part of Herold, in preference to all the other instruments of the orchestra, with deep insight and knowledge of its fitness for such a purpose.

The tones of the viola are distinguished by a mournfully passionate character, by a profound melancholy; they appear chaste, soft—sometimes, as it were, veiled—and the first string is capable of producing effects of marvelous beauty.

We have already, in a former impression, spoken at large of the concerto by Grieg, as well as the Harold symphony, and must defer fuller notice of the performances until after the concert.” 

“Steinway Hall was literally crowded and its seating capacity severely tested yesterday afternoon when Mr. Thomas took the baton in hand to rehearse the Harold symphony of Berlioz and the Heroic Symphony of Beethoven. The ladies were so largely in the majority that there was little room for the sterner sex to sit down. It is now nearly twelve years since Mr. Thomas first introduced the work of Berlioz to the American public. The representative of Childe Herold—for the work is founded upon the wanderings of Byron’s hero in Italy—is the viola, and the first virtuoso who essayed this difficult rôle—if we may be allowed the term in an instrumental sense of the word—was Mr. Mollenhauer. It was next successfully undertaken by Mr. George Matzka. The wonderful, tropical fancy of Hector Berlioz, a man possessed of a ‘born orchestral mind,’ has a fitting theme in the hero of Byron. The storm-tossed soul of the wanderer and the bitter feelings to which he is a slave, give a somber tinge to the music even when describing the varied scenes of the sunny land. The music of Berlioz in this work has been happily photographed by an eminent writer in these terms:--‘Sometimes it sounds like falling stars, still as thought; then like a polonaise of wildfire, then like a May fly’s concerto; or it rushes like the sea; the earth trembles under this orchestra, and hot, red clouds ascend and lie over the instruments like volcanic halos.’

Berlioz is the progenitor of the music of the future, and yet his own offspring—Wagner, Liszt and the others—seem to discard him. Even reputable writers on both sides of the Atlantic refuse him the honor due him of being the first and the best of the new school. They say that he has no breath of inspiration, no spark of creative genius. But those who say so must be unacquainted with such works as the ‘Cellini’ overture; ‘Romeo and Juliet’(especially that transcendently beautiful musical story of Queen Mab), or the ‘Walpurgis Night.’”