New-York tribune., 1876-01-21
MUSIC AND THE DRAMA.
THE THOMAS REHEARSAL.

The rehearsal of Thomas's Third Symphony
Concert took place yesterday with all the expected eca
The hall was densey crowded and the magnificent pro-
gramme was executed with fidelity and spirit which
promise brilliantly for tomorrows repetition. Beetho
ven's Ist Symphony is very little known In this city.
and indeed 1t many years since 1t has been heard hero
at all 1t does not deserve the neglect with which has
been treated. Bright joyous and interesting it 10 only
by contrast with the other eight that 1t little
weak and 1t Is certainly almost equal to number two.
which often finds place on our concert programmes.
The influence OF Mozart apparent In IT. but In moro
than beautiful passage the developing genius OF
Beethoven asserts itself in manner not to be mistaken.
Next came the great violin concerto played by Mr. Ja-
cobsohn splendid example of the intermediate Beetho-
ven period and then the stupendous Choral Symphony
which the creative power Of the most wonderful OF
musicians reached its elimination. We reserve detailed
criticism for the performance Saturday only saying
here that the rehearsal triumph both for the or
chesra and the singers Dr. Damrosch leading the cho-
rus while Thomas conducted the combined forces.
As there has been misapprehension with respect
to the notifications adopted by Thomas In the
orchestral parts OF this Symphony, It may be
worth while to explain what they are. 1. La
certain passages where mclodic phrases OF tho first
Importance, given by Beethoven to the wood nsrumens
Overpowered by a forssimo string accompaniment,
be resnforces the wood by duplicating the first flute,
hautboy, clarinet, &C. conductors get the
difficulty by subduing the strings but that Of course de-
stroys the crescendo effects Wagner proposed, in pas
sage Of kind in the scherzo TO add the horns tho
wood instruments, but that would change the color
ing Of the passage. There be objection, how
ever 10 Thomas's plan, which seems to be only
carrying out the intentions OF the composer.
2. In the trumpet parts there are some meodio
and harmonic passages where certain notes omitted,
obviously other than because the trumpet
OF Beethovens day could not sound them. But they
within the OF the modern valve trumpet and conet,
and therefore Thomas them to he played This
the change" in the trumpet parts Of which much
has been absurdly said g. Slight notifications made
the trombone parts to accord with modern changes
in the character OF the instruments. There for
mery alto, tenor, and bass trombOnes nowadays It is
the almost universal custom TO only ten0rs (hrst,
second and third because their tone Is best But there
arc passages tho close of the last
ment where Beethoven 10 have indicated q
trast between the different kinds Of trombones for
stance, at the opening - tho Andante maestoso he
has phrase trombone fortissmo in unison with
the male chorus here Thomas uses the three tenor
trombones together; later, at the beginning or the
Allegro enorgco there Is passage for alto trombone
only, and this Thomas gives TO an extra trumpet, be-
cause furnishes the best imao OF tho
character OF the nearly obsolete alto. Occasionally
trumpets also made to play very softly with tho
trombones In loud passages as TO improve their color
instance anything added to the original har
mony any alteration made in the dynamic balance Of
tho parts. 4. There two corrections Of a sngo
wrong tn harmony, both OF them apparently
clerical errors One in the first movement, tho
other the last neither will be noticed by the ordinary
listener