Theodore Thomas Symphony Concert Public Rehearsal: 2nd

Notes that the rehearsal cannot take place on Thursday, as might be expected, because of Thanksgiving.

“…The Beethoven trio, ‘Tremate, empi tremate,’ was charmingly sung by Miss Lasar, Mr. Fritsch, and Mr. Remmertz, with orchestra. Mr. Mills being unable to play, the Raff concerto was omitted, and Mr. Henry C. Timm, who had been announced to appear at the third concert, stepped in to fill the vacancy. The veteran and respected musician was cordially received, and played with great taste and spirit Hummel’s Adagio and Rondo in A major, with orchestral accompaniment.”

“Steinway Hall was crowded yesterday afternoon with an audience of art-lovers who assembled to hear the Thomas orchestra rehearse the music which will be given to-night at the second subscription concert of the present series. The first piece on the programme was a suite in B minor by John Sebastian Bach for stringed band with flute obligato. It is led off in a slow, dignified and stately manner by the first violins with a passage containing shakes, which is imitated in the octave in the following bar by the basses. This grave introductory movement is immediately followed by a fugue in common time, marked allegro, the subject of which is given out by the first violins and answered by the second violins, and the two subsequent entries are made respectively by the viole and celli. The episodes throughout the fugue consist of solos for the flute. The movement immediately following is broad and slow in character, marked lentamente, and forms a noble conclusion to this division.

The Sarabande (Andante, in 3-4 time, key of B minor), is in two sections, each of which are repeated; and the modulatory scheme is one that has found great favor with modern composers, for it proceeds from tonic to dominant, and returns from dominant to tonic. The first violins lead off both sections and are immediately imitated by the basses. The Polonaise [illegible] time, (key of B minor) has also two sections, each of which is repeated, and the modulatory scheme of this movement has also since become commonly employed, for it proceeds from B minor to the relative major, and returns from D major to B minor. The double is an intermediary movement, which appears to occupy a similar position to that of a ‘Trio’ in the minuet of a symphony. It here consists of a [illegible] solo accompanied by the cello, and the two sections have cadences into the same keys as the Polonaise; which is afterwards repeated (da capo) to form the third part. The Badinerie in 2-4 and the key of B minor, marked vivace, is also in two sections, each of which are repeated. It will therefore be at once perceived that although this suite is by the great composer Bach, its external plan is easily comprehended, and as none of the pieces are highly involved, it may be thoroughly enjoyed at the first hearing. By comparison with many other works of the same writer it is, technically, extremely simple, even the fugue, but this simplicity or easy adaptation of means to ends proves the artistic skill of its illustrious composer. The suite is a series of pieces in one key, which has given place to the modern symphony, in which the various movements are in different keys, though these are generally related so closely to each other that they form expected groups around the central or principal key.

In the absence of Mr. Mills, who gave notice on Wednesday evening of his inability to attend, Mr. Henry C. Timm appeared and substituted for the Raff concerto, Hummel’s ‘Adagio and Rondo  by [illegible] in A major’ (opus 56). This celebrated [illegible] of the piano for [illegible] who was for many years president of the New York Philharmonic Society, and who, from the exquisite touch which distinguished his treatment of the instrument, was familiarly called ‘velvety-fingered Timm,’ has not performed in public with orchestra for sixteen years. At the conclusion of this brilliant solo he was most loudly and warmly applauded by the audience, who fully appreciated his artistic powers.

Schumann’s symphony in B flat, opus 38, closed the first part. The second began with Beethoven’s celebrated trio ‘Tremate, empy tremate (opus 116), sung by Miss Clementine Lasar, Mr. Charles Fritsch and Mr. Remmertz. Liszt’s symphonic poem composed in illustration of Schiller’s first sketch of ‘Die Ideale’—that was subsequently rewritten and then translated into English by Bulwer Lytton—completed the programme. To this we shall again refer.”

“At Steinway Hall there was one of the largest audiences of the season assembled to hear the rehearsal of Thomas’ orchestra for the second grand symphony concert, which takes place this evening. The programme was as follows [lists program].”