Morning journal and courier., 1884-12-16
rmEPm1LmARmoNro ooroERr.

house at Carll's Opera House last evening The audience was composed of the leading members of our institutions of learning, clergymen, prominent merchants, and espee- ially of students and lovers of music. In fact, no more brilliant assembly was ever gathered in this city.
 They all listened with the most rapt at-' tention to the strains of Theodore Thomas matchless orchestra and resembled the ap preciative audiences of the New York Phil harmonic society. An orchestra consisting of fifty performers, led by Theodore Thomas and assisted by MT. John F. Rhodes, solo violin ist rendered the programme.
 The concert was opened with Beethoven's symphony No. ?, in A major, op. 92. The whole civilized world recognizes Beethoven's genius as composer. In the art of orches- tration, however, Beethoven introduced such new ideas as to fairly revolutionize the work of the orchestra. In the works of Haydn, the so-called father of modern symphonies, the stringed instruments performed the en- tire ground work of the symphony, while the wind and brass instruments were merely used for coloring and rhythmical' purposes. In fact his symphonies were really string quin- tettes. Mozart with all his briIliancy and genius did not improve this method. Bee thoven was the first composer who, appre- ciating the latent power of the brass and wind instruments, gave them full sway and thus placed them on more even level with the strings. By writing works of deeper and more difficult character than his predeces- sors, he called for greater technical skill on the part of the performers and thus the c1annish state of former orchestras was super seded by equality of all the instruments composing the same.
 Beethovens seventh symphony exhibits his great genius. Being composed when he was already matured in age, we find in it pre- monitions of those lofty ideas which he so fully developed in that grandest of all tone pictures, his ninth symphony.
 In the massiveness of the Poco Sostenuto he opens as it were the heavy doors of pal ace through which the merry dancers can be seen gliding to the strains of his Vivace. The sombre notes of the introductory chord of the A11egretto are the very personifcation of sadness. In the Scherzo, in which one in strument after the other almost playfully takes up the theme, we behold in our imagi- nation butterflies chasing from flower to flow CT on bright summer day. The Allegro Con Brio portrays wild rustic dance. It is a sea of melodies and it's indescribable rhythm al- most lifts the nearer to the regions of high CT world It's strains at once childlike and then overdowing with mirth picture to us unspeakable joy, freedom of thought and love of mankind. No text can be found for such tone picture. Words cannot describe it; the soul dwelleth in silent revery.
 This noble work was rendered in amost ar tistic manner and displayed Mir. Thomas thorough understanding of Beethoven's sym phonies.
 The second number of the programme was Max Bruch's violin concerto No. 1, op. 26, rendered by Mr. Rhodes This concerto differs greatly from those of Beethoven, Spohr Mendelssohn and others of the classi- cal composers. It rests on less powerful melodic form. The cold Scandinavian style is directly in contrast to the oriental passion of Mendelssohn. Grieg has succeeded far better in describing the l characteFistics of these northern melodies l than Bruch, although this concerto is a fine, delicate composition.
 l Mir Rhodes was much appIauded and per l formed the concerto with great deal of | skill both in tone and lowing His technique | is excellent. A less use of the vibrato l WOulu SL1l1 more Improve HIS p1ay1nQ. | Liszt's Hungarian Rhapsody in D major, No. 1 3, followed next. This work is of the
 fifteen rhapsodies by Liszt and was originally l written for the piano. Liszt has vested the | national songs of his native country with art | istic form. The songs and dances of the Magyars have formed the themes of many of i the symphonic works of the great composers. They abound in the works of Haydn, Mo zart, Beethoven, Schuberth, Berlioz, Brahms and especially in the compositions | of Liszt. On account of their pecu- liar rhythm and fiery and at the same time sentimental temper they are especially adapted to be worked up in behold with our minds eye the fiery Magyar | gaIloping with his wild horse over the prairie, | or we behold him drinking in wild revelry the celebrated Tokaier, while a group of Gyp- sy girls dance around him. This compost tion calls forth great skill of the perform CTS and they acquitted themselves nob1y. The next piece on the programme was Wagner's Waldweben, from Siegfried. Wagner's music, especially of his later period, is strictly dramatic. For the repre- sentation of his operas he does not merely rely on poetry and music; he calls all the take to produce Siegfried with only music. However. while we listened to this part of the concert we could clearly perceive the mar velous advancement of orchestration since the days of Beethoven,
 In Wagner's music the old school of simple orchestration gives way to an or chestra of virtuosos. Every instrument is taxed to it's utmost capacity and therefore only the most skillful artist can do Wagner justice.
 The rendering of this number showed plainly that Theodore Thomas orchestra can render Wagner's music and bring forth all it's innate beauties.
 Pecheur Napoiitain ct Napolitaine and Toreadore ct Andalouse are two numbers from Rubinstein's pianoforte composition, ,op. 103, entitled ''Bel Costume" They are ar ranged for orchestra. The first of Tarantelle in 6-8 time. Its strains are interwoYen with charming melody in 3-4 time in which the fisherman breathes forth his love to the maiden dancing before him, and thus while the Tarantelle it. self does not exhibit any striking features it receives it's charm from the interwoven melody. The Toreadore ct AndaloQse is short sketch of Spanish national music.
 The last number of the programme consist ed of pvorak's Slavonic dance.
 Here again composer takes as subject the melodies of his country. There is not as much fire and animation in the dance of the Slovak as there is in that of the Mag yar. The latter is the free son of nature he allows no restriction to his pleasures, The Slovak, however, like slave, works pa- tiently and performs the task allotted to him and therefore naturally his melodies are mourpful.
 The thanks of all music-1oving people of this city are justly due to the gentlemen who have associated themselves for the purpose of promoting musical art in it's highest sense by concerts of this class, Few provincial towns have the opportunity to enjSy such concerts The attendance last night proved cone1usively that our citizens know how to appreciate such efforts in their behalf
 MT. Theo. Thomas may rest assured that through the concert last night he and his orchestra have strengthened the apprecia- tion with which New Haven greets his efforts and that he will be heartily welcomed at the next concert on January 14; 1885.
 MS,
 How a Schooner Waa ntsrnaatna