Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1882-05-17
rHE GENERAL ARRANGEMENTS
INTERMIsSION.

FRAU Fr1ederlen Materna-
INTERMIssIoN.
Jubilate written for the Peace of Utreoht),
Mr.. Georg Henschel.
Chorus, Orchestra, Organ.
Opening with the immortal Bach showed
solidity of foundation at the start. His
caafafa, "a Stronghold Sure" is based
on the sterling old Lutheran hymn, and
breathes all the defiant, stern and uncom-
promising spirit of the great re former, which
the severely conscientious composer strictly
followed in the mastery treatment of the
subjec not only through his religious zeal,
but the answering fidelity to his musical
principles that nothing could ever induce
him to sacrifice.
1t is a historical fact that Bach was the
first OF his race-and they were all musicians,
dating back from Sebastian's time $50
years-to lend his genius to the use of SER
vices and masses for the Roman Catholic
Church.
MR.. THOMAS
has reduced the original proportions of the
cantatd, being formerly divided into eight
parts, and completely rescored it. The
chor1ses were formed from differeet societies
the New York chorus, Worcester Festival
chorus, Brooklyn Philharmonic chorus, and
the Reading Choral Society. They did noble
work and divided the honors fairly with the
effective orchestra.
Miss Cary, Mr.. Whitney, basso, and Mr..
Candidus were the soloists; but Miss Cary
was i'll, unfortunately, and the duet between
herself and Mr.. Whitney was omitted. That
proved sad disappointment.
Both the gentlemen were in good voice,
and delivered tha Eaai4aIi@-,-- down for r
them with clearness of enunciation and fine
expression and taste, but neither singer
showed to their usual advantage in SO i'm
mense a space.
THE JUPITER" SYMPHONY,
in G major, is in four movements, as you will
perceive, and thoroughly MOI artian in conceit,
symmetry and style. The second movement,
"Andante Cantabile," is a most exquisite
melody, and draws your very soul out of
you. 1t is beautifully woven and connected
Movemsn mt 3 is the quaintest and the most
delicious OF minuets-sometimes stately
then dainty and light as an Ariers dream
and while you are revelipg in such fantastic
csprices you find yourself suddenly carried
away by the most bewitching and graceful
forms that ever tormented composers
brain. 1t is most ingeniously treated. The
ALLEGRO Molto," and finale, is "a curious
study and evidence of The depth OF Mozart's
knowledge of the science of his art"
The Jupiter" as well as two other SYM
phonies, was written within six weeks, and
at very sad period of his life, and short
one, alas! He died in 1871, at the age of
thirty-hve. Some German writer said of
him; "The world had waited eight centuries
for him, and he was only to remain for
moment"
That Thomas orchestra interpreted this
beautiful symphony of Mozart's in a most
admirable, artistic and brilliant manner, is
not necessary to say. 1t is Joy forever TO
remember.
In Harper's for May will be found most
excellent likeness, though not half so pretty,
of the great "Wagnerian Priestess,"
FRAU FREDERICK MATERNA,
whom the audience was in breathless impa-
thence to hear.
She conquers first by her perscnnsi, which
is most charming. About medium hight,
full, round but symmetrical in figure, she is
very graceful in movement, and / can easily
Imagine how she must have csptivated
Wagner when he first saw and heard her.
Her fine shoulders and arms convey the idea
OF superb. strength. Her face, of decidedly
German type, indicates great tenacity of
purpose and determination. In complexion
she is a brunette, and while her eyes are
neither large nor lustrous, indeed sleepy and
dull, yet are rather capable of the greatest
variety OF expression, changing from the
tenderest emotion to the deepest passion
Her toilette, faultless in taste and style, was
lemon-colored silk, ornamented with grace
ful garland of flowers to match, very French
in arrangement, and combined with a petit
coat of exquisite lace. She wore flowers also
in her hair, which is quite black and very
luxuriant.
Rarely has an artist met with such a fiat
teriug, hearty welcome as that accorded this
superb singer. Such applause was never
heard before, it seemed to me. Handker-
chiefs and hats were waved in the widest
and the poor lady was kept bow
ing and smiling for some minutes, first to the |
audience, then to the orchestra and chorus. |
before there was the slightest cessation, or |
before she was permitted TO take her seat for |
the prelude.
the greatest dramatic singer of her time, se-
lected by Wagner as the priestess of his
Niebetungen Lied, naturally expectation was
rife as &c the voice and powers that could
provoke such glorious praise. The furore
hat broke out at the conclusion of the
tIdelio aria was sufficient proof that these
were fully realized. The au-
Hence fairly rose at her, braves resound-
d from every part OF the house, the hand
;lapping was deafening, and in the midst of
his wild excitement three magnificent bas-
lets OF flowers were passed up on the stage
After being recalled seven times she repeated |
he latter part of the Ftdelio aria. EVERY
'ody was sorry che did not sing something
Use.
Now, shall 1 say it? 1t is heresy 1 know,
'ut must confess to tinge Of disappoint-
nent. Her voice seems to me to possess
very element of perfection and beauty but
he two essentials, sweetness and sympathy.
II times the middle register struck my ear
if not harshly. The scale
eemed uneven. Her lower notes are not at
III strong or full and l have heard she fears
he new role Wagner is writing for her on
hat account. But in the upper register she
oars like a seraph. Materna's voice is rich,
oble, with great carrying quality, and
ometimes powerful.
Unlike Parepa's or Titien's, with whom the
herman artistic has been compared, her voice
not go large, round, or perhaps full, and
hen it is sAid she has not Parepa's sweetness
I organ.
In this respect only she was disappoint-
lent to me, and yet felt it was unfair to