Proprietor / Lessee:
7th Ave. between 58th and 59th Sts. Central Park Garden
Theodore Thomas [see also Thomas Orchestra]
13 November 2017
Thomas’ Garden Concerts were very well attended. There is a good chance that based on his success, he will be able to establish a fine orchestra which will be unparalleled in its skillful, effective and precise performances. It is possible that the concerts will be continued in the winter, though probably not on a daily basis. The audience he has been attracting is educated and interested. We suggest for the future to give one concert a week only playing serious classical pieces following the Liebig model in Berlin, instead of merely including classical compositions among popular works into his performances. We are almost convinced that there would be quite some interest. Moreover, part of the audience would be relieved to pay less than $1.50 for a good concert.
“Musical. Theodore Thomas’ Orchestral Garden Concerts. The programme at Terrace Garden last night comprised some very interesting selections. The Misummer Night’s Dream fantasia, and the Fools’ Galop, were repeated, and received by the immense audience with enthusiasm. The Tell overture was unexceptionably played. Is it not strange that the opera of William Tell, embracing as it does some of the finest music ever written in the operatic line, always proves an irredeemable failure when brought off the stage? The probable reason is, that the audience becomes satiated after the overture, and the effect is the same as listening to a half dozen other operas. There is, in fact, such a superabundance of choice classical music in this opera, and so elaborately worked up, that if falls upon the ear of the listener, like those concerts in which Athalie, Lurline, Egmont and the Ruins of Athens are given. One of the most beautiful waltzes ever composed by that prince of salon music, Strauss, Die ersten Curen, followed the Tell overture last night. This waltz, improperly called 'The First Flirtation,' was composed for the students of a German college. It was played at every ball and concert of note last season in New York, but it will always be the favorite of the public. Still there is nothing very intricate or sentimental about it; but its simplicity and charming melody recommend it to all. The overture to Preciosa is, like the march in that opera, characteristic of Weber. Alternately rapturous and tender, it exhibits the most violent contrasts, and moves the hearer with the most opposite emotions. The andante from the fifth symphony by Beethoven next followed. The slow movements of Beethoven are inimitable for soul and feeling. Many other composers excite wonder and admiration for their power of combinations and variety of themes, but he alone thrills the soul. In this andante the chords seem overcharged with tenderness and love, and they ebb and flow like the tide of the sea. Strange inversions, snake like fugues and themes like lone serenades permeate through the entire movement. Lanner’s ‘Rays of Hope’ waltz was very good also and deserves to rank with Strauss’ Die ersten Curen. This latter piece ought to be on every programme for the remainder of the season, as there is no waltz equal to it. The programmes at these concerts are admirably selected, and the execution in general all that can be desired by the lover of good music.”