The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-01-10
ADJUSTMENTS.

THEODORE THOMAS SYMPHONY CONCERT.
"Who will deliver US from the Greeks and the
Romans ~ inquired French writer, In an ire
pressble outburst OF irritation. In the same
manner We are tempted to ask, Who Will protect
us from class OF our fellow beings who proclaim
that they understand Beethoven and that no one
else does The despotc influence which op.
presses the French writer, and which Is felt at
times as keenly IN the present world OF art and
letters as was the material sway Of the two great
powers in the days when the universe t:embled
ct the power OF Rome and iawned at the feet of
Athens. is no more irksome than the tyranny OF
certain musicians who, in accordance with their
own pretensons, have received from the
reat Beethoven himself, as an inalienable
heritage, the exclusive right to Judge and
interpret his works Apropos Of these
observations, 1t has been remarked that Theodore
Thomas, not understanding Beethoven's music,
cannot play 1t. Last evening, on the occasion of
his third symphony concert the public had the
opportunity Of listening TO, and as far as our OBJ
servation went, enjoying Beethoven's nth sym.
phony In minor. The work is too well known
to need comment but its Interpretation was
sound and vigorous. There Is undoubted intelli.
gence in Mr.. Thomas leadership which enables
HIM to deal creditably with all composers, and
contagious energy ana vitality which lift both his
orchestra and his audience above any tendency to
Iall into the slough OF respond and apathy.
But the subtle and more refined points In the
writings OF the old masters, coming less within
the circle OF Mr. Thomas sympathies.
meet with more imperfect recognition at
his hands than the romantic and hlgny cOlored
school OF modern Germany. Rams symphony In
ID minor, new to our musical public, came in the
itself worthy, through its attractiveness, OF the
same mold on popular favor as the Leonora SYM
phony. The motto affixed to this recent valuable
addition TO our concert repertoire. suggests the
idea OF life In general its aspirations, its struggles
ana It's inevitable termination as the OASIS VI the
composers musical ideas. An allegro movement,
iresn and interesting usners us into lie; vivace.
melOdlOus and MenoesOhnic In treatment, recon-
ciIes to existence, and a funeral march, solemn
Durability of happiness, aud finally, In a
spirited allegro more prosaic and common
days, we are hurried out OF the world. This fatal
denouemen; only taking us to No. on the pro-
few moments intermlssion to assist at the per.
Torrance OF scene from Wagner's '.Walknre"
n,e h lpp me nfst me by MT
the force OF Wagner's harmOntes. excItes In rs
new interest in regard TO the forthcoming opera
requires a too lengthy and patient investigation
to make 1t available IN q brief notice like the
present, but the scene wherein wotau, a god OF
might ana power, sees 1T to punish his daughter
by condemning her to an indefinite term OF sleep,
at the same time protecting her by an encrchng
beauty. Mr., Remmertz tmpersonated the god OF
might and power The lower register Of mis- voice
Is more in cons0nance with our Ideas OF might, as
Indicated by control, than the higher. Some tones
are emnentiy pathetic, as was noticeable in
from Weber's opera, which occupied q place In the
early part of the programme. Gluck's overture
to "Paris and Helen" opened this highly enjoyable
concert, making suitable variety IN the choice Of
composers. II crowded benches and spontaneous
applause attest the popularity OF these entertain.
ments. Mr.. Thomas can have no reason 70 complain
OF lack OF musical appreciation in New York, for
we have rarely seen Steinway Hall filled with
choicer and more satisfactory audience.