Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1883-05-14
GROWTH OF CHORAL AND OR.
CELESTIAL MUSIC.

The Music Festival whichjwill bs inaugu-
rated tonight, recalls forcibly the feeble be-
ginnings of choral and orchestral music
In this country. For years it WAS
chiefly confined TO Boston, aud was only
occasionally heard in other parts OF the
Union. Its growth was slow. II is but a
few years since the envy of all the other
cities was excited by the advent of the big
organ Of the Boston Music Hall, which is
new matferfor litigation in the COURT.
Elaborate descriptions of it we're sent out to
the South and TO the West az if il really was
The biggest thing 10 creation" The people
of the North rtjoiced with exceeding great
JOY over lis possession, and pointed TO it and
very psrdonable pride. They also pointed
with piide 10 the Handel and Haydn So
ciety as the only organization in the
Union that could attempt the grand
and solemn works of the great masters go
fam liar 10 the common people of old En-
gland through the Birmingham and other fes-
rivals, and the concerts annually given in all
the large cities of the British Empire. But
the chorus of this society and the big organ,
while the objects of psrdonable vanity, were
not by any means the only results of musical
culture in the United States. New Orleans
had from an early day encouraged and fos.
tered the opera and, as consequence, that
form Of musical Interpretation there reached
its highest developme mt in scenic sffects and
orchestral support. The iesven with which
the French element of the population OF the
metropolis Of the South had IsAsSnsd the
ta.te OF The people was in nothing so appsr-
snt az their love of music. When New
York, if not B oston, was without great
orchestrss or bands OF mixed reed and brsss
Instruments,
THE CRESCENT CITY
epj Dyed both. The gayety OF the French
spirit abouuded there, and survived every eff
fort of the sedate, the Puritanic Americans
to crush it out. New Orleans, as it is now.
was in its earl lest days thoroughly musical.
1t was the ca pital 10 which all that Was cul-
tured OF the planting population found its
way once year for rest, recreation and en-
ioymeBt. In the winter season it was as gay
as Paris itself, and its opershouse was dis
tinguishsd for the standing o. the artists
who appeared on its stage, for its charm, its
orchestra, its accessories and effects as that
OF any Of the most favored cities of Eu-
rope. 1t was q great musical ter, from
which there went cut a broad and liberal
culture in the most fascinating and difficult
of all the arts to the remotest corners of the
6jacent States. But the civil war revolu-
tionized all this, and for a time all that hinges
on sentiment was III allegiance at the South.
Confronling very stern eaiity in the enforce
ment of the reconstruction laws, music was
put away for more convenient season. But
in the North it was far otherwise. There the
martial spirit OF the people had been aroused
by every aid that was possible, and bands
snd crchesIFas were multiplied to an extra
ordinary degree. Theaters and music hslls
and eperahouses were increased teufold in
New York. Europe was steadily drained of
its beat musicians 10 supply demand that
grew as the foreign population grew in num-
bers and in wealth.
THoMAs's ORCHESTRA
was one OF the results OF this demand, and
its gradual but steady approach TO supreme
excellence fsi,ly indexes the advance that
has been made by the people in their compre-
hension and love for the highest form of
music. 10 1861 he began the formation of his
orchestra amid the tumuli that ensued upon
the initiatory movements of the civil war, and
in 1856 insuguraied at the Terrace and Central
Park Gardens, New York, the popular con-
certs out Of which emerged the symphony con-
certs and afterwards the festivals, which
few years later were repeated in a tour
through The South and West. This WAS the
mort btzardou. Of the enterprises of this
greatest Of all living orchestral Leaders, but
it, results proved the truth and force of
saying as old as any of the forms OF art that
whatever of music, painting or sculpture
meets the approval, whatever strikes a re-
sponsive chord in the breasts of the popu.
lace, is art at its best. Thomas was every
where greeted in 1872 with almost affection
ate warmth, and city We'd with city in claims
upon him SIS former citizen. Since that
memorable tour, when
HE WAS HEARD IN MEMPHIS, FOR THE FIRST
AND ONLY TIME,
he has confined himself chiefly TO the Esst,
OCCASIONALLY visiting Chicago, st. Louis and
Cincinnati, making his home in the latter
city for q few months as the musical dirsc-
tor of the college, which is undoubtedly
the musical center Of the West. Returning
TO New York, be has ever since devoted HIM
self TO the browning tack of his life in the
production of the works of the great mas
tiers, aud 80 illustrating them an to bring
| them close 10 the hearts Of the common peo ,
pie. No man living has done so much 10.
ward the popular comprehension of Wagner,
and the immortal Beethoven, the Shake
/ spesre of music, was merely a name 10 the
gre at macs of mankind in America until he
unfolded the works Of that most exalted d
tone poets by interpretations as wonderful
for coloripg aud 10 perfect as the gorgeous
and magnificent paintings OF Michael Angelo
or as beautiful as those of Raphael. In this
labor of love Thomas revealed the possession
of the highest artistic excellence. His per
souality dominated, and was made manifest
in the production of an ensemble that was In,
delight OF all who heard kim, and the specia
wonder of the more skilled musicians Al
Salvin in the GIRL Death, or Booth in tn,
Fools Revenge, SIS Rachel as "Psadra," Ris
tori as Elizabeth" or Bernhard as 'Adri
enne Lecouvreur," 50 is
| THOMAS IN THE INTERPRETATION OF TIL
MASTERS.
Bui, where's these great artists are con
fined to the control and direction of thei
own powers, he hes to make uss of those of
hundred artists, every one of them essential
to the voluzs, the delicacy, the intensity c
passional emetioa and feeling which accent
usie the more daring flights OF great muscs
composers. The artists Of the dramati
stage merge themselves in their work, iden
tify themselves with the character they 81
sumo, the situation, the era, and all the vary
ing ard succeeding stsges Of It's life, bu
Thomas not only develops in himself CON
plete and mssleriul knowledge OF his com
poser, and reproduces it in its entirety i
his mind, but guides hundred hand
and twice hundred voices to make 70
Thousands the beautiful pictures thus re
vesltd to them in all their perfection. II
invests the players with something of hi
u