Year: 1876




The matinee given by Theodore Thomas at
Stenway Hall on Saturday memorable for the first
production in New-York Of Mr. ]. X. Panes first SYM
phony and gratifying to observe that the trial OF
80 important and serious work by American
poser was sufficient 10 attract respectable audience In
spite the counter attraction OF Ttiens In Norma" at
tho Academy OF Music. 1t by full house,
but there at least fair array OF listeners who be-
slowed upon the performance close and intelligent
attention and greeted the symphony with unmstakable
marks Of approval. Tie work Is In the key of minor,
and IL scored the usual instruments OF the modern
grand orchestra (pccolo excepted II opens with an
Allegro con brio very first page OF which dsposes the


listener pleasant anticpations not so much by any
thing startling In the theme by tho composers evil
dent mastery both OF his subject and his materials
Clearness OF thought, elegance OF arrangement,
and vigor OF expression are conspicuous from
the outset. The principal and secondary themes
both clean cut and pleasing and both admirably man
aged and the transitions from to the other the mod
uatons the thenatlc Developments are contrved in
all cases with a most happy effect W at we knew
already OF Mr. Psines work prepared for the autess
construction and the noble cOntrapuntal harmony which
arc found all through this movement but the easy dow
OF melody and the poeca taste in the Instrumentation
especially in the employment Of the wind instruments,
were a constant surprise. Tho second movement Is .
scherzo ALLEGRO viyace) In which we confess that We
found hardly much grace and payfuness as seem to
have been apparent TO the abest Boston critics. but ike
the first 1t is clear strong and regular About
the beauty OF the tro however In this part Of the SYM
phony there can two opinions IL II introduced by
effective raentando phrase for the clarinet and then
flows on (seno aegro dialogue, nrst between car-
met and horn with soft string accompaniment. again
between flute, clarinet and horn, afterward with the
substitution OF hautboy for the flute, then with second
clarinet, ending with an ascending rteuuto phrase Tor
the flute The melody here is charming, and the
tanned passage for the horns which leads back to the
Allegro yiyace is very effective The third movement,
an Adagio ia fat. s the best Of the whole work Tho
principal theme is graceful, and tender melody, which
touches the feelings at once and it Is developed and
varied with beautiful and ingenious harmonic
treatment, unwndlng itself slowly and smoothly at
great but never tedious length with multform effects OF
elegant Instrumentation. IL Mr. Paine had written
nothing else this alone would stamp him a master OF
the orchestra The Finale ALLEGRO yiyace is as vigorous
as the introduction and equally interesting aud 1t closes
with fine crescendo passage In which the full strength
OF the orchestra is admirably brought into play Tho
symphony distinguished not merely by the beauty ana


uency OF detached portions but by the symmetry OF the
whole the breadth Of the plan, and the composers firm
grasp OF his ideas AID these, we need hardly say are
distin gushing qualities Of a masterpiece.


A second novelty on the programme was the Danss
Macabre," q new symphonic poem by saint-saens tOp.
4O written To illustrate by Henri Cazaiis, which
repres mt Death kicking his heel against tomb and
playing an uncanny upon his VIOLIN While spectes
dance in the cold night air ana rafting skeletons noursn
their shrouds at the wild music As may be imagnedt
grotesque and sensational in the last degree but
not devoid OF characteristic French elegance and
picturcsqueness while Of the orchestral effects are
very striking saint-Sasns indeed is one OF the best
contemporary French masters OF Instrumentation Tho
work opens with admirable imitation OF bell tolling
midnight by the harp and horn in unison. As the
last strokes sound Death begins HIS dance and this figure
represented all through the piece by solo violin Mr.
Jacobssohn tuned unlike the rest OF the band the rst
string being in fiat instead Of T. The xylophone an In
strument OF wood and often used in theatrical
orchosras duty for the rafting bones and variety
OF unearthly noises drawn from the bassoons The
work is curious and interesting, though not OF
great value and it much relished by
the audience that Mr. Thomas repeated It. Tho
other selections for the orchestra consisted OF the
ture TO the midsummer Nights Dream" Liszt's l4th
Hungarian Rhapsody and the Theme Variations scherzo
and Finale from Beethoyen's septet. with the parts
augmented to the full strength Of the band The per
formance this last Of the most magnificent ex
ampcs OF the vrtuosy OF the Thomas orchestra that we
have heard in long tme the spirit and precision OF tho
vioins especially being perfectly marvellous The elab-
orae cadenza was gwen by the ten yions IN unison az
n AN had been touched by a single artist.


MIS- Emily Butman sang the Letter ARA, rom " Don
Giovanni" and &" Ocean thou mighty Monster from
"Oberon" Both were TAR beyond her ability.