, 1870-11-08
ADJUSTMENTS.

ofcneatia at FarFcll Hall, last evening WIS at
senaed bJ IN audience which, both ic QUANTITY
anu quality, made Eec0mpense for the sparinz at.
tendance OF last fall The musical public Is cyl
aenuy determined not to commit the sLme mis-.
taxe t"lce, and to improve the shining hours. We
confess u ls dincnlt to write With the sounds o1
thaf orchestra ringing In our ears, and that The
temptation is strong to refer each reader ia The
d!ctona1y with carte blanche to pick out his owu
supeieatlsea. And what We do saT cannot, BIZ any
possibility, be referred to one number for whcthrr
It Has in the susr1ng and disuacttne oyerturc In
"Tannhauser," ," the dellcious alaRio from p" pro,
mctheGs." the passionate measures OF IIsxts
"fTe!ndes, or tho sensuous and fascinating Eh,rs
af strauss. there WAS the same perfect nlsh, The
programme Of the evening Was as follows. and. M
>%ll be aeen, Fas made up With direct reference to
diversity of tastes: :"
t%.s Wagner
Viii h.sp, soioaeeio s.oa;;. ; nd aetsssR I.s.oeD
conoer,tueet for f!4ae: eops::s u. s Weber
Symphonic r. r. f;eisis. sis
f'saa R;:;sais
Watt Te,nss ttest:a .s str.a,.
M.Iehe sy,,
III brt aking OF 1tis opening perioImance oi lie
sasoD aaas e P5s1sf to BE- genesa ThsooEe
lam. every part Of which has been perfa' "
trained " the master. There ts no netaE OF thor
acorcs have BEEN prepared with special refercnce
y eaeh PLAYER, SO thar 1t Is well nigh Impossible
fo5 @ htm to make mistake Mr. Thornas' dIscj-
lliuc has been SO severe that The apparently un-
,1Dpr1ant matter Of unanimity In lingering aud
towing nas been Insisted upon. securing sl,ui-
!s1ity and precision Of molten which tennis to
perfect the ens-mbfe. Thcu, the intellectual
power 70 grasp The meaning Of the score, aud yne
executive power tgsowinR out Of long practice sn,i
NIL ~ n
gives US music which "a not ouiy tecan!caliy
eofteet ~ tnns anu prcciAc in time hut Ia perfect
70 t1s aSaass5 so@eee 9
1s5,ec', xer5 Pat ass be perfect and every
following Il with delight through tie ,nsrtSsasics %
" the various seotea In ordinary orchestras
thc1e afe ceftain Instruments, suct. as tue trom-
which sou never expect to hear music You
usuHlfy get nothing tut uotse ftnm them and
ssnssa,&iy & tSo much Of i But hero IS an orches-
ase used TO e!se exprss.on ant color, to nll il
sn'f re sa,% xs'S 'ts s. 'essa'e ise Whole H,2
these Instruments are handled, ~ y poor Uajntef
lays IN bis tscksFs und, With daubs Of his brush.
In Thomas orchestra there Is perfect s1bordina-
non IN the erassta They not only do not offend
5ons caE With Mea1inR'css crashes. but they never
string fnue. Here is IN orchestra again Which
can 10 thAt most sflcult OF uu musjcu e{Tecis-
best trained ear cannot tell where snuni cutis,
anu hllcnce hcEtrs. From this perfect 1i.nixs,no'
u9soei .s ofseSs sa sSna san mase & sgt pssises
hrsaH-Without HI variation tn tone, heyond the
nas,e hs &c ,1s1s Mr. Thomas
y ialc, istess unsi nDconceTned. ret always
S1ass1rl a sspossess. ts sIs..nt leader
Us the organic *r OF this Perfect mechanism. Per-
hars one u Tue most fIequent remarss maie
.,Nut ta.s orshest1a Is: ''0h: yea. Thomas il
we'll w,th Ut HIM ~Jnst ahout ~ well Il adi cond
t. nayira!sti by ils crew IN unknown waters wtth-
~, ~ .ne pilot VINO Snew The course rn,ioubsedly
~ With Il has had constant practice.
N ;i s% sea ne ps1{s,s Es{ sS5,nG 4S sss1 r,
"crk without leatie1, where would It 70 10: #
Il ns1 hayc the maa q, 1ts heal who has Rtasnc,i
~ the pats studied u en- until he knows every
;"'Her. and Eot orJ has ute Intelligence to com.
untcsie these thoughts 10 ethcrs, but the ex~cu-
abtllss 10 osomnan3 their proper inteFfetauon,
'hc enthusiasm which stimulates III ii the personal
magnetism which controls hy perfect confidence.
To harc achieved such IT, at work, to have or
;ea q 81 na 5na - nays IN
!'cen 70 ehil1s play. Mt. Thomas has bcen tude-
tatsaelc. anil for stx long years his scarcely
,:aycEs to know that This orchestra, perfect as il
r, never allows week to 20 b. wtt.nut rehe4r-
~. Moulu :; aot y veil 70 1ottoF this example
4 frr words with regard to the details OF the
concert. The o1EarizAtttn of the orchestra is
shout fne slime III number amt character a. last
tal:, and The balance Just As perfect The uu-
3'Rhtly. caselcss organ on tue siasc did NOT form
Eef5 petunsgue background 10 the orchestra,
aaa nesssn.sssd 81. r., tctnporaIy addition to thc
tne rFpG1 amino ~&s varied enough to suit ali
tastss. The fotets OF classical music cot = tefnrs-
the ruslc OF the fnturr had their coInpcnsation
tn tie "Tannhanscr" oScstnrr .ud the TtrIulcs Of
List tenool Of poesr5 music little heani 10
s wsRaef Besiioz Ell * sehusnp 9ns tn aDa Tstse %sn
delssonn a.so, schteved some OF their greatest
S.as,;s SSn1ss; nosael5 &enaelS*ohn in his Midsummer
ever, have carried this wedding of music IL
poetTy to The extreme. as witness Ltsx{ In his
ers of som.ne ,nis r9e en, Ins ldssl The
Wcbers Concers-Ssueck,' - Nlco!aits nrstry over.
t1te 70 The Merry Wives Of Windsor and
conmcsnorhses the memory Of Schiller: xh,sa me
Afu hers of light uEslc had IN tute1pre;atioa ~
strauss. wh1ra ought TO have male then, fairly
Where all the numbers were plaEed with snrh
cohsn1nustc tItll. It Is we'll nigh impus ssjhe TO
@ sreak q one in eontrsdss:ncslnD 10 the ncxf,
And ftf Serraev to rs thst In tte Ta.nhansrrS
nreftu1e. and those passionate Lisxt Freip1cs.
with their e:ns'Ant suggestions Of the sunernasn
fsts 3, os Mxsa me %s 81 snH nc
chords. The orchestra did It's Efan,fest and In The
>Eset lille "s1unper song os nuerTel. an,l the
"
FxCcseRr work.
II wnull he dangerous ntsaon for any one
WIN waS nut . real arts; to rla. upon the sane
staRr With this orchestra. Fortunately, Miss
AehttF l. mn artist: and. in conjunction with tho
orchestra, she and ter piano become cou poneut
hratseE- ]! womb be simple folly to compare
her with other 1saE rIantsts. for no
rne has app7nxiEltrti TO her In this coQntry bur
alca IoPPs a.a Fne only In CTtspne*s and clear.
ness n5 rlsrtny. She mnst ne compared II at ALL
With ans snd al efnserS anh, In fnls rnll7at1sou
ne rises IN many respects tn Thsihcsr's standard.
soe nas 2feA1 t0rcr. and wststa nt power, and
npRefo OF snnrleness suthcsent to cope with any
tecnnic3! difficulty. Her touch Is a. clear a crvs-
~. nef tc1ling severity accurate, and at TIMES
sne ossp!aysa sentiment nnd glow OF color which
admirably Illustrate the theme mon which shc
u ehEaceT fcIhsns We have not heard her sut1l.
ctentls yrf 10 Judge, hut 1t seems to Us that il
therei is ANYTHING lacking IN her nls5tur. II u
warmth ami rsssfop. She Seems to tlS ia hear the
same relation tn The tano that KAthei hny tn ne
ttsRt-cltsr. fright, and enid a. diamond,
The second concert occurs thls eren1nr xith
the following programme:
AnesTcstoFfon symrhons Is Rctns! M~ner
Coneetto-k Piano. so l. Ast. .iIs,f
kI*s Ah*n ktAhy.
Overture William TeI .Rcsttui
raIaphr.se- Nid:am;ases Sieavs Dream
| His. A..a ktAV.
Waltz" On the Rcs ufifnl Rhine ,EelefHelA
oo'0 'o3 ~ ~.
.Srau.s
/ A1ExNE XC5ECN.
/ brought ont u The Auseum last cTepips. and
| with MIR. AifEDtS prpye{piAl SUreFuFtka. for fhe