Washington standard. [volume] (Olympia, Wash. Territory) 1860-1921, 1881-07-22
The MendrlSShon Concert.

there we're 10 disappointed people IN
the audience ut Columbia Hall, last
evening. he would BE- stating pal
pablc untruth, still the members OF
the company are individually and
collectively, artists who would rank
hiah in any community. This may
seem strange, but it is easily ex-
planned when we reflect that there
must be a certain degree of famil-
iarity between performer and au-
dience to secure that condition
which awakens thorough apprecia-
ton. In double sense, there
should be harmony; harmony of ma
ture and harmony of sound, to place
the senses under the exquisite thrill
of this master emotion. Many who
have become qualified to form all
excellent Judgment of the wild mel
odv of negro minstlelsy, would be at
q loss TO detect or appreciate the
delicate blending of harmony which
enrapturcs the educated ear. 1t
resembles the ;aa.r which the con-
noisseur acquires when he is enabled
to detect Il peculiarly delicate flavor
in quail or Il boquct i'll wine resent
bling the breath of q goddess! Few
of us in the wild-woods have had
that opportunity for cultivating an
az sthetic taste, { the writer frankly
owns his want of knowledge in this
particularly which would place them
in rhapport with the Great Masters.
The true enthusiast can discover
an Ineligible language in harmony,
companionship in tho smooth and
rythmical succession of sweet sounds.
A lady once manifested her concep-
ton of the genius of Haydn by the
power which his music possessed to
her of endowing each instrument
with sentient life and individuality.
She found in the first violin the SEM
blance OF man of considerable in
telligepce, of the middle time of life,
an accomplished talker, and equally
capable of sustaining the conversa-
ton as of furnishing the subject of
it. In the second violin she recog-
nized friend of the first, who en-
deavored by every possible method
to draw out his brilliant qualities,
was rarely occupied about himself
and kept up the discourse rather by
his appreciation of what fell from 9TH
ers than by advancing any idea of
his own. The tenor was solid, pro-
found, sententious parsonage, who
gave support to the remarks of the
first violin by maxims of a laconic
turn, but of striking truth. As to
the violoncello, it was q good woman
fsomewhatbabbling inclination who
said nothing to signify overmuch,
but yet would not be without her
share in the conversation. She con-
tributed certain grace to it, how
ever, and while she was talking the
other intorlooutors got time to
breathe. With woman's intuition
she even discovered that the violon-
cello cherished q secret bias for the
tenor, and gave him the preference
over his instrumental brethren.
Some such pleasing conceit could
not help obtruding, when the deli
cious harmony of "The Miller's
Pretty Daughter" fell upon the ear.
Probably, however, the most en-
joyable part of the programme was
the singing of Miss Maria Nellini,
| Why do all good singers persist in
surrounding themselves with an
Italian atmospheric whose purity
and volume of voice, united with
thorough cultivation, produced the
most pleasing impression upon hel
auditors; but, illustrative of the idea
advanced, the good old Scotch song
Robin Adair;' sung as an encore
to an air from Semiramis, received
much greater applause than tho mas
ter-creation of Rossini.