Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1882-06-05
THE QUESTION OF ENcoREs.

Encores are a nuisance. In opera they
interrupt the dramatic movement, and i'm
peril the success of the ensuing parts OF the
work by unduly spinning out the earlier
parts and thereby fatiguing the audience.
Operatic encores are generally the work OF
a few vigorous claquers judiciously placed.
OF course there is genuine applause at
well played opera, and it sometimes reaches
the limits where the repetition of the en-
tire number is the graceful thing to do.
The thoughtful person will observe, how.
ever, that such repetition scarcely ever
produces the same elation as the previous
performance, There are certain numbers
in every popular opera that are invariably
encored. Such as "M'appari and the
spinning wheel quartet in Martha" "Ah
che La Morte, in '.Trovatore, the letter
duet in the Marriage of Figaro" the
prayer in "Der Freyschutz," etc. Every
operatic encore, however is open to the OBJ
lection stated, that it unduly prolongs the
earlier parts Of the piece at the expense Of
the later. Besides, 1t greatly increases the
fatigue of the artists by doubling what was
perhaps already task requiring concen-
tration of their best powers. 1t often
happens that there are opposition claques
at the same performance. Signor A was
encored therefore Signor B must be, and
so on through the alphabet.
Concert encores are almost always a re-
quest for something else. The audience
really hopes to hear favorite singer in
some common ballad. When the pro-
pramme is made with reference to such an
Interpolation, there is nothing to be said
against it. except that it would be more
satisfactory to all concerned for the in
tended members to have been mentioned
in the programme. But when the pro-
gramme has been artistically composed IN
the beginning, such doubling OF one
number, or yet worse, the interposition OF
an unrelated and uncongenial selection, has
the effect Of throwing the entire concert
out of Joint. Theodore Thomas rarely
permits encores, not because he objects to
the labor Of doing a number over again, but
simply because he has made his programme
as an entirety, and an encore is disar.
rangement of it. Take it outside of music
and the principle is plain enough. Suppose
there is a "reading" in which several take
part. In the usual way Of arranging
''star" concert the best reader does not APP
pear until the fourth or fifth number. As
edCT mas o"h nSiSNSANHt
it happens, we will say, that the fourth
number is Professor Cummock's All a
Going into the Ark-ah." This, Of course,
creates furore and is loudly encored. He
follows it up with another selection. The
next programme number is, perhaps, by an
accomplished and very refined reader, who
will give serious piece-let it be =" The
quality of mercy is not strained" or "To
be, or not to be-" Is it not easy to com
prehend that by this time the audience
is entirely out Of the humor for such a
piece and will clamor over and over again
for the reader that made it laugh?
There is no objection to applause, and
much Of it, when the case warrants it. II
does good to the players and audience
alike. 1t blesses him who gives and hin
who takes" Recall them over and ovei
again, il they did it extremely well. Ii
very rare cases insist on a repetition. Bu
as a rule let us not insist on the instan
repetition Of every pretty strain we chanc,
to hear, for in doing this, even when al
are agreed, we fill ourselves prematurely
and are unable to enjoy the entire feast
Encore" is the child's cry for another
plum, and yet another, until the poor LIT
tie thing makes itself sick. Come agai
the next night. That is the encore tn
manager prizes. Il Chicago Herald.