New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-05-18
THE CINCINNATI FESTIVAL.
FIRST ArTERNooN-sECoND EVENING.

tn, tho bright warm weather but II
i'' -, ;,dicat,on of the growth of serious
toste in Cincinnati that the concert though h'snlS
,..ossful attracted less interest than the eraNe'
erfor,nance of last night, and much less thah the
rreat one of this evening. speak OF II as Delhs
rather light, yet programme whch eHiol'
20. NH featnres as the selections from
" The Marriage Of Figaro and Beethovens Sew
ontb svmphonv. not to speak of the variety OF
choice things in the second part, Is not to be re-
garded with indifference. II was happy thought
70 give the exquisite numbers from Mozarts
dramatic work-at once the grandest and most
continental of all comic operas-s0 soon after the
stirring music of the Requiem. The selections be-
gan with the overture. Then Mr. Remmertz, who
was in fine voice and spirits. gave us capital rehu
ering of the " Non PIN andrai" ; Miss Cary fOi-
lowed with the Vol che sapete," into which she
threw her best expression; and Materna cioseu
with the Susanna non bien" and Dove sono'
in which her broad dramatic style made strong
impression How beautifully the orchestra perform
ed the dainty accompaniment to these vocal pieces
the rich setting of a cluster Of gems OF the iirst wa
teri leave YOU to imagine who know how the
Thomas orchestra can play Mozart. As lor INC
symphony this afternoon try to recall an exception
ally good Philharmonic concert and you Will uhuer-
stand the effect.
have said much more Last night about
the work of the orchestra IN the
Reouiem. To hear that alone was worth
the iournev to Cincinnati. Majesty was Its pre-
dominant characteristic: but there were many pass
ages Of type which Mozart only ever wrote IN
which the ravishing softness of its tone and the
caressing tenderness of its expression were almost
new revelation of the capabilities of instruments
There are harmonic devices IN the Requiem nearly
unique and cannot think of their Interpretation
even now without emotion. Mozart makes prom
inent use in the Requiem of the old and long dis
carded basset-horn. Thomas has restored this In
strument TO the orchestra. and We heard II last night
with admirable effect. 1t somewhat resembles the
bass carionet in tone but it is not 50 deep; 1t Is
more reedy and derives from its metal bell-p zee
peculiar metallic tang Practically. 1t is an alto
clar1onet. None of the substitutes which
have supplanted 1t qnite take its place,
and its restoration seems To me a great advantage.
Thomas has also restored of the obsolete trum-
pets for which Handel wrote, and he uses them not
only in the "Te Deum,' but in q" The Fall of Troy
Their tone Is brighter and more ringing than that
of the modern instruments. and their compass X
greater but they are very difficult to play small
trumpet in used for the solo oollgato last night
has valves The others are large and give only the
open natural tones.
The question: How does this festival compare with
the one IN New-York1 is naturally on many lips
1t is no disparagenent of the Cincinnati affair to
say that between a band and choir of 80. which
we have here, and band and choir Of $500, which
we had at home comparison is in some respects
a surd. The enormous masses IN the Annoy Delhg
well drilled and handled with consumnate skill, pro-
duced an effect which cannot expect these smaller
forces 10 approach 1t matters h5tle that the space
to be filed was greater in New-York than in GIN
cnnati il was | suppose about twice a. great.
The result Of multiplying the performers l. not
merely to increase the noise, but a far more I'M
porrant consequence is to alter the quality OF tone
and add TO it "a new character of richness, sDendor
and dignity This is true of the multiplication OF
voices, and it Is still more clearly true OF the
multiplication of instruments, for when the
orchestra is greatly enlarged a striking change
takes place in it's composition. While the brass Is
| not materially augmented. the strings are H.
creased three or four or five fold The strength Oh
the strings of these phenomenal orchestras gives
them certain fullness, body and power OF express
sion which nothing but strings will give and which
no expansion of the auditorium take away.
| Everybody who listened to the performances III
! New-York is aware that none of the finer grace'
| of touch and style were sacrificed in that large
band. but that, on the contrary, II
gained from its size eloquence which
we have heard in orchestra before SO, too
there was an effect in the multitude of singers and
especially in the pre- isOn and holiness Of thelT
attack and irresistible swing Of their rhythm which
do not expect again until we have
another festival Of the kind The
more | think Of the achievement at the Arrnory the
| grander il appears to me. | have no doubt that
most persons who are really sensitive to music will
agree that the impressions of that week are deep
ened by reflection and will last long.
Bach's st Matthew Passion" which occupied
tins evening. would have lost a great deal
by being sung in a very large hall. be-
! cause the solos are highly significant
and characteristic part of it. Here it admirably
placed and thoroughly enjoyed by at least "A con-
siderable portion of the audience which packed
the building. OF course it marked tn eli
max of the festival. and am tempted 10 call it,
performance one of the most distinguished Of all
the mass achievements. 1t was a model. Rarely
indeed can this stupendous and difficult
work be interpreted by better artists for the solos
than Materna. Cary. Candidus, Henschel, Whitney
and Remmertz. a hrmer and more spirited chorus a
more sympathetic and inspring leader And
the beauty Of the instrumental accompani-
ment (which followed that Of Robert Franz
passes all description. A splendid effect pro-
duc6d bv the opening number with choir OF boys
for the Ripicno part, and here were called upon
at once 10 notice the perfect concord between
the two choruSes on opposite sides Of the
stage each with its own complete orchestral
concord which lasted without interruption to the
very end The di nifty of the chorals, the share
ness and force OF the short and dramatic Outburst
of the pOpulace at intervals during the sacred mar
rative and the exquisite pathOs of the gentlcl
passages were all alike incomparahly fine. The
famous chorus, We LIghtuings. We Ihundcrs,' was
delivered with tremendous spirit, bringing the first
part 10 a sensational close. and the lovely siumoel
chorus Around Thy Tomb, made a 10 less strk
ing close % the whole work
Mr Candidus covered him elf with distinction il
the arduous character of the Evangelist. He mas
great deal TO sing. but il is almost all unaccOm
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