The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1875-01-22

The exalted reputation of Theodore EhOmas
famous orchestra was emphaticaly demons
trated by the large and brilliant audience as
sembled liz City Hall last evening, which COM
pletely filled that beautiful concert room. In
the auditory, beside the elite of Portland socie-
ty, were a large number of enthusiastic lovers
of the "divine art from neighboring towns
and cities. Such an assembly would reflect
credit upon a metropolitan community, and
that the superb entertainment gave entire sat-
sfaction was expressed on every countenance.
The opening performance by the full orches'
ira was a prelude, chorale, and fugue, the
chorale by Albert, which was feast of exquis-
lite harmony, executed as only Thomas orches-
ira can.
The first appearance of the ''young Ameri-
can prima donna contralto,'' Miss Emma
Cranch, in the aria, "Angels ever bright and
fair" was not altogether prepossessing She
manifested natural diffidence and lack OF
vvacity which detracted somewhat from the
effect of her rendition, although it was evident
that she possesses a cultivated and melodlous
voice. Miss Cranch cannot, however, be con-
sidered an indispensable artistic, albeit the
selection was not such as to exhibit her at her
best, as was shown by her second aria, "Parto
ma tn ben mio," which she sang with more
spirit and IN excellent style, elicting continued
applause. For am encore she rendered alballad
by Arthur Sullivan, entitled, Crest well, my
love''-a delicious piece of vocalization, with
harp accompaniment.
In the splendid symphony, "Lenore," by
Raft, the orchestra won rapturous plaudits.
1t was what might be appositely termed nine
fold harmony" played with the incest precis-
ion and artistic expression. The strains OF the
full orchestra dying away in ear-enchanting
cadences, was something really indesclibable,
and could be conceived only by those who were
the fortunate listeners.
The symphony is divided by the composer
into three parts, viz. "Happiness in love"
(Liebesgluck), Separation (Trennung), and
''Re-union in DEATH (Wiedervereinigung i'm
Tode) The first division consists of two move
ments, Allegro t2-2 time) in e major, and
Aadante quasi Larghetto (34 time) in A fiat
In the second divisional March in G major,
interrupted by short Agitato in G minor,
after which the march movement is resumed
The march in this symphony was played with
great brliancy. and the imitation of the tramp
of horse by the violas and violoncelos, was
surprisingly perfect, as also that of the neigh
ing and snorting of the ghostly steed, as he
rushes along. In the solemn tones of the
drge, one could almost see ga mourning train
came on before, a coffin and a bier they
bore"
Shortly after the ending of the dirge,
change is made to 3-4 time, and melody
(horn, violas and oboes,) is introduced from the
second movement, followed by the dance of the
spectres around the wheel; these follow after
William and Lenore, and the ride becomes
more furious than ever {return to % time),
till at last they reach the graveyard, and the
Transformation takes place. The strings take
up chorale, which is then repeated by the
whole orchestra, and the symphony closes with
strains of surprising richness, the embodiment
of musical completeness.
A magnificent composition, replete with
grand and majestic passages, is the "Fantasie
Caprice" by Vieuxtemps, in which the con-
summately artistic violin soloists of the orches-
ira performed so sympathetically as to deeply
touch the audience. 1t was indeed the bril-
liant gem of the evening, the. delighted audi
ence applauding to the echo,
The other selections were Hungarian
Dances executed allegro motto, allegretto,
and allegro con spirto, and grand, imposing
Overture by Beethoven.
All in all, we may justly characterize it as
the CO" cert par excellence of the season.