The Fremont weekly journal. [volume] (Fremont, Sandusky County, Ohio) 1867-1877, 1872-04-26

-Four Thousand voiee.in Cbon,

went to the Music Hall to attend q
rehearsal Of the great chorus, OF
rather that part oft known as the
"Boston Chorus" We found the
immense hall packed to sufoeation.
Floor, aisles, doorwsgs, balconies
and stage swarmed with gentlemen
and ladies, each with q small green
music beck ia hand We oushed
through the crowd and found place
to stand on the stage, under the
shadow Ofthe organ, where We could
see the whole house. It was nov
el sight, presenting many points Of
interest and huucr, and Curious in
both 8 musical and 2 social way.
The two balconies on the right were
occupied by the tenors. The bases
extended from the stage along both
of the opposite balconies, and filed
the end, crowding close upon the
tenors. The stage aud One-haIf the
floor extending far back to the rear,
and all the doorways, we're filed BY
the sopranos, while the altos occu-
pied all the available space left. By
count there were one thousand sing
ers in each part four thousand In
the whole choir.
On the edge Of the platform stood
one Of Boston's institutions" Carl
Zerrahn. Next to Mr.. Gilmore, the
success of the Jubilee rests more up
on his shoulders than on that Of any
other man. He seems equai TO the
occasion. Tall, finely formed, with
great arms that seem able to swing
a baton to conduct q nation with an
intense enthusiasm and energy, it is
no wonder that choirs under him
sing in spite ofthemselves. Ifthere
is anything in q timid little alto to
be brought out it Wlll come at his
bidding. No matter hoF insignih-
cent the singer, nor how far remov-
ed, each seems to think that TIE ges-
ture of command is meant for her In
particular, and when it comes sing
she must.
There was a general buzz OF talk
and q murmur Of confusion in the
great company as we came in. A
rap on the music stand and an ex-
peetant hush flied the hall With
pleasing German accent, in voice
that could be heard to the flrthest
reach of the place, the conductor an
nouneed the page, and said in his
usual quaint fashion: "Tenors be-
giU. Look at me, gentlemen; watch
my sign"
MENDLEssoHN's ST. PAUL MUSICAL
RoARs.
We examined the book and found
it was a chorus from Mendelssohn's
"St Pan" " beautiful, but exceeding
| " difficult. With an absorbed at
tention almost amusing the four
thousand pairs Of eyes were liked on
the conductor-one bar from the pi-
ano, and in snbdued musical roar,
from thousand tongues came the
Opening theme; 9a.
"See what love hath the Father"
The baton waved over the altos,
and, like one voice, they began:
"See what love hath the Father"
A wide sweep of the baton round
the hall, and the other parts came in
softly in a sort Of suppressed thun-
| der:
"See what love hath the Father
bestowed on us in his goodness
We could feel the carved case Of
the organ tremble, but could not hear
| it. Now each part alone, now in du-
ct and trio, rising, falling, swelling
out abruptly, and sinking into .
powerful "pisno," if you can imagine
such a thing, smoothly and correct
| ly they sang it through to the end.
OF course, in such a place the music
al effect was not good. There was
not space for the sound to develop.
Where the whole hall is filed by the
performers there is no room for true
musical effect. At present this is
oflittle consequence. This is only
a rehearsal.
HANDEL PRnoUs EXPERIMENT.
When the next peiee was an
Inounced we were alarmed. HandePs
chorus, 'tAIl we like sheep" This
| seemed preposterous. The comfort
able Boston assurance seemed to
have overstepped its ability. The
idea of producing such an elaborate
| fugue by a choir of twenty thous-
and VIII not the whole thing fall
to pieces out of sheer unWieldiness2
| We shall see. Here are four Of the
| twenty thousand. They managed
to keep together in the involved and
perplexing music.
| The conductor commands attea-
ton. and with one sweep Of his ba-
Eton the many voiced choir breaks out
into that abrupt phrase:
H4II we like sheep"
The winding roulades follow with 3
curious snap and ponderous accent,
sounding as if one very large man
was singing, and very much in earn
est. Zerrahn's long arms are flung
| from side to side. At each move
ment Of his seemingly magic wand
the parts spring into life, and twist
4 into various blended runs and ropl-
AIDES. The basses groWl in ponder.
ous thunder:
ave have turned"
The sopranos fling it back in a deaf
eRiDg shout The tenors cry from
the balconies, ave have turned, p
and all unite in one excited rush Of
music:
"We have turned every one 10 his
own way" Nervous tenors bob
their heads to the time. A thousand
| bonneted faces turn up at as, snd the
basses lift mp their voices and sshake
/ things We examine the roof and
wonder ifit is safe. The organ peals
and roars ouerhead, and the unhap-
| DIV being at the piano bangs away
| all unknown and with much perspi-
ration. The only silent person is
/ the conductor, with outstretched
arm, guiding all and inspiring each
with his own commanding viii and
| enthusiasm. In an overpo8ering
rush and crash the choir reaches the
end. The baton is poised in air, and
the last note is sustained with won
| Jorf,T ofForf L 50 lie auH q cfa r.