Litchfield enquirer., 1878-11-14
Music in New York.

1 The Classical Concert Season has been bril- l liantly' opened this week in New York by the Symphony Society's first concert and public rehearsal. The rehearsal took place on Thurs day afternoon, and the concert this evening. As your readers probably know, the Symphony Society has stepped intcthe boots ofthe ''The- odore Thomas Symphony Concert" enterprise, which died natural death this season by the departure of it's soul, Theodore Thomas. Had it not been for the historic Philharmonic Soci- ety, whose existence depends upon no one man, New York music-lovers would have been in despair. But the departure of it's leader could not kill the Philharmonic society. It was confidently expected that. if this society should fail to hit upon an available conductor from abroad, it would certainly choose Dr. Leopold Damrosch- -unquestionably the finest musician now in New York But, for entirely personal and non-artistic reasons Dr. Dam- rosch was defeated in the election, and Neuen- dorff chosen by a large majority. What the latter will accomplish for the society remains to be seen. A good season is hoped for from the energetic leadership of the once successful conductor of the Wagner Opera Company.
 But Dr. Damrosch's many friends would not consent to let his symphonic baton remain idle and therefore have blessed New York by the formation of society ingenuously rivalling the Philharmonic Society in scope, size and quality of performance, and, to insure it's suc- cess, have made Dr. Damrosch it's conductor. The personnel of the orchestra is almost iden- tical with that of the Philharmonic a few of the more extreme, yet confessedly val uable members of the old organization having declined to tamper with what might prove to be suicidal Tn it's ultimate effects. Thus, at Thursdays and Saturdays performances, all hearers 'intelligently acquainted with Thomas orchestra of last year were disappointed in the quality of tone displayed by the bassoons in prominent melodic passages, and also though less noticeably-in the case of the clarinets.
 | With regard to the performance as whole, it may be said that everybody was greatly inn pressed by the striking magnifcence of sound which Dr. Damrosch has succeededin evoking from his excellent orchestra. The leaders conception of Beethoven's Fifth Symphony, which was the opening piece upon the pro- gramme, was one far grander than that tc which the public has been accustomed of late under the baton of Theodore Thomas, albeit the performance as whole was noticeably characterized by a roughness generally insep arabic from even great beginnings. A saw, even when newly set, is liable to make a jag ged mark before it has formed for itself guid ing groove. The Fifth Symphony is probably the most familiar of all the orchestral compo sitions of Beethoven. Thomas has played i oftener than any other symphony; and those familiar with his rendering of it felt that i was beginning to pail upon them. But now Dr. Damosch holds it up before the public il a dress of royal grandeur; and it appears al most like 2 new creation, whereas it has only re-assumed it's original character as it sprans from the brain and heart of Beethoven ant many with which Dr. Damrosch is more ia miliar than Thomas) is inclined to preserv for it. The power of the strings was mos marked, especially in the bass passages of tn, iScherzO, and in the glorious march movement of the Finale. It is great pity that the day for three public rehearsals before each concer has finally passed away for New York for with two more performances, Dr. Damroscl would have secured all the snoothness an, polish necessary to just rendering of hi | grand conception or Jhls noble wUk.
 Fhe other orchestral selections on the pro gramme were Goldmark's brilliant mythica overture, SaltsaataIG, and the introductio to "Wagner's only comic opera" Die Meister singer uo,a Nuern5ery. The same qualitie characterized the rendering of these two piece as in the case of the symphony, save that il the SatuntGlG no roughness was manifest and in the performance of the Meistersnger there was nothing more to be desired.
 Steinway Hall was crowded for this concert and the success of the symphony society seem to be secured, for this season, at least.
 But part of the audience was specially al | the programme. This noble and manly vio linst displayed his wonderful powers to tn perfect satisfaction of even those hearers wh
 had little understanding or taste for the musi
 which he performed. Any disappointmer
 felt was as uncalled for as would have bee
 disappointment because Corliss's Centennis engine did not rattle and roar, but worked O
 in the unconscious silence of mighty power
 The greatest technical difficulties have bee so radically overcome by Wilhelmj, that, whe he meets them before an audience, they are g
 if robbed of all their danger, and seem to tn listener like matters of course. Thus to M eye Wilhelmj often seems cold; while, ft the ear, the impression is enchanting. Th ! orchestra accompanied the solo violin throug
 out The first selection was new concer
 by Joachim, Raff, composed expressly for Wi
 helmj. It could not be mistaken for any oth : composers work But it's difficulties are unu
 ual In it there is is no rest for the soleist 9 is, from beginning to end, one uninterrupt !, glare of arabesque brilliancy. At the close n lllS WoS AC\ouON e number of times, and at last was compelled IT play an escore-piece. He chose Bach's eel
 brated aria, from the Suite in D which W
 rendered with the violinist's customary powe
 barring a slight huskiness of the G string tone
 the higher notes.-the best comment whi
 could have been made upon the fatiguing d | 6cnlties of the Raff concerto Wilhelm
 other selection was his own FdntasiestUec
 in which he showed that he does not believe
 allowing grandeur of performance or compo tion to swallow up all other kinds of beaut Q Here also he was compelled to play again, al v simply repeated the last two movements of !. Fantastestueck. A. M. M. }. LYONS, Iowa, Nov. 9th, 1878. | fool