The Portland daily press., 1877-12-07
The Thomas Concert.

and his orchestra is by far the most important
event of our musical year--an event looked for
ward to and enjoyed by large and ever-increas-
ing number of music-lovers. No concert that the
Thomas orchestra has ever given in Portland
surpassed that of last evening in excellence of
execution or in interest and variety of selec-
tion. The orchestra are playing at their best
this seasoh-their tone and phrasing much sur.
passing that of the last three years, and in
some points excelling their first performances
here which were genuine revelation to our
public of the possibilities of a finely trained
orchestra They have lost nothing in point.
precision or brillancy, and have gained in
sweetness, breadth and fine simplicity, The
DianiSSimo always fayolite effect with Mr..
Thomas and one uniformly successful with the
hearers-is notably bettered; retaining it's ethe-
real ami subtle quality, it is rounder and more
in unity with the piano and forte passages than
formerly. The extraordinary beauty of the
playing of the orchestra was at once recognized
in the Leonore Overture No. "a composition
SO familiar as to need no fresh pointing-out of
it, merits. Siegfrieds Deathis composition
interesting as showing the best state of the
mind of Richard Wagner. Il would be idle to
deny to this work certain qualities
that are of genius-whether musical
genius is not precisely certain. 1t
IS rather wordless defamation, an attempt
to force musical utterance into an imp possible
chanDe 1t is an experiment W hose audacty
OF magnitude commands attention-the result
is.a scene dreary with choatic ruin, picture
similar to that W hch science draws of the lu-
NJ LAM Put rb No
are so strenuous aod SO prominent before the
musical world, it is interesting to hear their ex-
position, SO perfectly performed as was this
MIR. j. K. Paine's overture to the Tempest is
an admirable, scholarly and picturesque work.
1t is moreover, wholly Ineligible and founded
upon the best traditions. while the orchestraton
is modern, scored with rich and varied effect,
and some of the harmonies are very near the
debatable ground of concords. The balance
and proportion Of the work are very fue; aud
Mr.. Paine's good taste is unerring in the dra-
matte delineation. The storm which casts the
ship upon Prospero's enchanted island, is ad-
mirable, sufficient graphic without exaggera-
ton; and melody recalls the sea-dirge, while
Ariel harping in the air answers the boat
swain's call. The duo that must surely be the
voices of Ferdinand and Miranda; an exquisite
ly imagined episode where Ariers flutter of
wings seems to poise above the grotesque mo-
tion of Caliban's fettered spirit melody af-
fOrding opportunity for some exceedingly fine
thematic treatment; song of Ariel set free
from his light slavery; richly orchestrated
finale close this noble overture, of which first
hearing is inadequate for understanding of it's
many and notable beauties The romantic
overture of Oberon is always delightful
in its rich presentation of Gothic legend
The minuet of Boccherini was tender and
bright, with delicats poise and refinement, and
was given to perfection by the string orchestra.
1t received hearty encore, and was repeated
in part. M. Saint-Saens' Danse Macabre is
written with true French tact, as well as mu-
sicianlike skill and much unique and effective
talent The muffled beat of the string instru.
ments that introduce the cold allurement of
the dance-air, the fantastic outlines, the re-
sstless voice Of death are set to, music with
moderation, that is extraordinarily effective
1t is only the plant Of few measures preced-
log the close, that recall the human tragedy.
1t is composition which, though bizarre, is
clever to the point of genius.
Master Leopold Lichtenberg promises to be,
and indeed already is, an admirable violinst
His style resembles, with suitable differences
of youth and want of experience, that of his
master, Weniawsk. His tone is large smooth
and pure, his phrasing highly intelligent and
at once careful and spirited, his expression is
genuine and not precocious. Indeed, one pow
erful charm of this youthful artist is his whole
some and natural quality. He is evidently a
faithful student of the best Of masters and of
musical works; and there is none of the excited
and painful oyerstraining Of sentiment, moth
ing that makes the hearer feel pity for talent
too early developed, to decay too soon. With
Leopold Lichtenberg, everything is sound,
sweet and natural. The Viotti concerto gave
proof of his good bowing, fine tone and usually
faultless information; the Bach melody dis
played musical understanding of rare quality,
and large phrasing. AS an encore to the latter
Sc lection, Master Lichtenherg played the
Gavotte-Rondo from Bachs 9th Vioiu-Sonata.
Miss Fanny Kellogg has soprano voice of
very sweet and pure quality, with some fine
upper tones-hardly equal, however, TO tie |
requirements of Mendelssohn's qrdndioSe and |
rather coldly theatrical scena. Like many Of |
the composers works, it has certain quality |
of initiation, and is apt to fall fiat unless given
with notable brilliance. Miss Fanny Kelogg's
voice, too. scarcely fills the City Hall. In the
Taubert songs she sang with great taste and |
feeling, and gave some notes as delicate and |
round as those of flute. The encore, polka |
by Mulder, was much more elaborate than the |
songs which elected it; it was sung with sweet
ness and rapid execution, which, OCCASIONALLY |
running away from the orchestra, was however |
neat and facile
Mr.. Theodore Thomas conducting was, as |
always, graceful and reserved, with steady and |
complete command Of his forces. 1t is a large |
debt of gratitude that Portland owes to this |
sincere and tireeBs musician, for allowing his |
audiences to listen to representative programmes
faultlessly rendered.