The New York herald., 1873-11-23
MU S e II e n rs.
Mr.. Lester WaIinck as Young Wfiding
In Y1sar.y


night The play chosen for representation last
evening and throughout this week. 'sThe Liar"
OF Samuel Foote, adapted TO the modern stage by
Mr.. Charles Mathews, Is one OF the most difficult
OF all the old English dramas-nOt that 1t is by any
means the best. If were adapted to this age and
played in the costumes OF the present day would
be voted u bore. Indeed, 1t is to be doubted If
any such extravagant liar as Young Wild
ing ever existed could exist. But the
play is SO fun OF situations suited to every age and
is withal so Witty and entertaining in many parts.
that none of the old comedies are more enjoyed in
acting. This enjoyment Is due, however, in a
great measure to the TACT that IL is old comedy and
is played as such even to the minutest particular.
This makes its representation on the modern stage
all the diflcut-iudeed. 1t is only IN this in
which its dflcuity consists. We need not
enlarge upon the decay OF the old drama
further tnan to remark that the present
occasion IS perhaps the best which to
see what it was ike. All actual stage knowledge
OF the preceding century is last passing away.
Mr.. wallack and Mr.. John Gilbert are tne only
actors on the American stage capable OF interpret
ing and Mr.. Walack is alone capable Of both teach
ing and Interpreting the old school OF art. As to the
English stage, England has no old comedy left.
The representation last night showed the worth
OF Mr.. Waliack's teachings. The piece was well
his instructions; Tor, while Mr.. Wallack
himself can play new as wen as old comedy the
young actors and actresses OF the day cannot pass
so easily from the known TO the almost unknowa-
ble--cannot pass at all from the new to the old
except under the leadership 0 a veteran guide.
This was what Mr.. Wallack accomplished with tae
present cast OF the piece. We regard 1t as no
longer necessary to follow his acting in any OF his
well known parts with the critical pcn This is
too well known to make actual criticism requisite
sn he PLAYS aI part Seoh o YousS
Wding. Mr.. John Gilbert, as Old Wllding, was,
OF course, his old self in the part. Miss Jeffreys
Lewis made her first appearance at this theatre
as Miss Grantham. She Is extremely pretty, and
met with a fattering reception. As the rather
fast but lovely young lady OF the past century
terestng, but she betrayed many evidences
wh IN e sese she be-
Beckett, as Papilon deepened the impression he
previously made as Tony Lumpkin in 'She Stoops
to Conquer Mrs. John Seton, as Miss Godfrey.
was especially fellctous IN the nonchaance with
confidence she exhibited In the some ewhat
withered charms OF old maidenhood: The minor
in wen the he in he
bin as ladies' and gentlemen carried their clothes,
which Is saying great deal for nothing is more
dlcut than to appear ut ease in the attire OF the
part, say from the time or thares II. to George H.
This was the only distinguishing feature OF the act
ing of Mr.. W. J. Ferguson Sir James Elliott the
Grantham. Mr.. Tom Taylor's comedietta .'To
Oblige Benson" was played as an afterpiece.
Theodore Thomas First Symphony Con-
cert.
The grand orchestra, 70 In number. OF which
America may justly be proud and which Mr.. Theo-
dore Thomas has spent years in bringing to state
OF perfection second to none in Europe, drew
very large audience to Steinway Hall last night
It Is truly an orchestra OF ri,tuosi, blended into
perfect ensemble by the ordeal OF expert
ence and endowed with Promethean fire by
that consciousness OF innate power and earnestness
OF resolve that true musicians alone can expert
tl,a
grand overture OF Beethoven, opus l24, "Weihe
des Hauses," written Immediately before the
immortal Choral symphony. The commencement
OF this colossal work, with its strong nervous
chords and phrases, instinct with harmoni, life
and power, showed the magnificent quality
OF the orchestra. Not only was there
cockwOrk precision, but also that warmth, feeling,
glow OF expression that speak OF intelligence and
earnestness on the part or the individual members
OF a band. The bassoons had q long and trying
passage to themselves, accompanying and color
ing the second theme OF the overture. and each
note was given with distinctness and effect After
then came rush OF the strings instinct with dre
and leeling, and succeeded by beautiful episode
Tor the horns and their csnfederates.
The Allegro con brio came next, with an 6tdn
on the part OF the entire orchestra that was only
exceeded by an attention to the distnctness OF
phrasnR and intelligbiity of rendering that char
acterize such Incompatible players. An ddagto
pause here and there, as It were, to take breath,
not spark of the divine fire with which the COM
poser has endowed 1t.
Mr.. Myron W. Whitney. the representative
American basso, then sang an air from Bachs
Passion music (St Matthew, 'Give me back my
dearest Master" and although ne brought to the
rendering Of this grand work all the wealth OF an
exceptional voice and thorough classical school,
yet the effect was not what might be desired.
Bachs Passion music must be presented in
cess, no matter what may be the attainments
the singer or the in orc esnn mr.
OF Beethoven, "in questa tomba oscura,' which
was encored, and drew forth from the artist a
in '.The Magic Fiuten The other soloist on the
occasion was Mr. Louis Lubeck, a violoncellist OF
brought to our shores by Mr.. Thomas. A'fi He
essayed concerto by Bernhard Molique, the Gel
ebrated vlolinist Of Nuremberg The work demanded
commodate the subject, as gwen by the cello, to
the varying coors OF the orchestral treatment and
Mr. Lubbock proved himself iully equal to all the
requirements OF the occasion. His tone is mellow
and sympathetic and yet instinct with nervous
vitality, and his execution is smooth flexible and
effective.
The lovely symphony in of Schubert. the great
est or the favorite composers works was the prln-
cipal feature OF the concert. IL was genuine
triumph for the orchestra. From the emphatic
defamation OF the horns in the introduction TO
the Titanic sweep, hurricane like, OF all
the instruments IN the finale, there was not
flaw. The opening AUe5,'o ma non roppo seemed
expression being lmned in the most delicate col
ors. The second movement Andd1ue con nOtO,
Win Its quaint oriental tneme uraped In n g0r-
geous raiment of instrumental Effects brought out
the orchestra in its most vivid colors. The
Kaleidoscope changes in the treatment Of the main
subject. with It's diamond setting OF light episodes,
seemed to be specially adapted for the purpose OF
giving each department OF the orchestra an oppor-
tunity for individual display, which was not lost.
The Beetnoven-like ScheTzO, playful Puck, yet
never losing the characteristics OF the prince
OF WRISTS, the fruit OF an mexhaustible fancy
and the offspring OF the Imagination of the
poet-musican, was handled by Mr.. Thomas musi-
clans with delicacy and refined coquetry that left
It's lusire undmmed The last movement, AuegrO
rtrace, bizarre and beautiful in its very capri
ciousness, exuberant in ideas until there Is a very
pant0mne OF subjects all struggling for predomi-
nance, the happest effort or the Midas OF melody,
as Schubert has been happily named, was given
with rare effect. No wonder that LisZt should ex-
clam, alter listening TO such a symphony. ''Schu
bert Schubert e musicien le pins poete que fut
jamalslm
one OF the most delightful thoughts of Hector
Berioz Is his musical p0riraiture OF Queen Nab,