The weekly Thibodaux sentinel and journal of the 8th Senatorial District. [volume] (Thibodaux, Lna. [i.e. La.]) 1875-1898, 1883-06-02
Che GtIbnoaux Sentinel.
SATURDAY, JUNE 2, 1888.
CLASSICAL MUSIC IN SAN
FRANCISCO.

The following graphic description Of
arecent concert in San Francisco. is
taken from the CHRONICLE of that
city;
At a concert of strictly classical mu-
sic. recently given i'll this city, the prin
cipal number was the extremely diff
cult and very rarely played Beetho-
ven's sonata for the piano in five fats.
To a CHRONICLE man who was present
it seemed a heavy composition, whilst
the audience seemed entranced. The
sonata was divided TITO five parts, the
whole lasting about forty minutes.
Notwithstanding his honest endeavors
to follow or perceive the musical ideas
of the composer. ard being still unable
to say that he had really enjoyed the
Interpretation of the work, he became
convinced that there must be some
thing radically wrong in his musical
training. and determined to discover
from some friends who were present
what the grandeurs Or cxcellencies of
the sonata We're. Taking advantage
of lhe intermission, he approached a
lady of his acquaintance whom he had
noticed as being among the most effn-
sive %applauders of the maestro's
works.
= Il hope You were in time to hear the
SONATA" said she, after the usual saluta
tons.
IL was" said he, land have come as
a Vandal to inquire of you What it all
means.'
"Means :" echoed the lady. .sWhy-
why. l don't exactly understand you"
81 have always thought" said he.
that a musical composition is written
to give expression in the most charm
ing form to some idea, passion or senti-
ment. In al opera. for instance, the
situation or the spirit animating the
singers is explained by voice and ms
trument. Now, applying the same test
to this sonata. what did you understand
by it, what did it all mean"
"Well, really" said the lady, hesita
tingly. Il had never thought of asking
myself such a question. 1t is scarcely
as a descriptive composition that II
regards sonata"
"But." said he. II saw you just now
applauding with a leartiness that Ger
tainly meant an enjoyment of the mu-
sic. Tell me. please. what it was that
delighted youf"
II was charmed" said the lady, with
q vigor of defeuce tina: did her infinite
credit. .'by the grace Of the different
movements and the unity of the
whole.'
do You call a strain of six notes, re
peated fifteen times in as many min
utes--' he was beginning, when she
raped him over the kauckles with her
fan and babe him leave for a cross ques
toner WHO did not know what classical
music was.
With a healthy sense of his degrade
:ion he approached a mild young man
who had followed the sonata in a book |
containing the score and. said, "What
q magnificent sonata, ell 2"
"Was it not!" said the young man
enthusiastically. 'Such %consonance,
such harmonic progression, such funda
mental themes"
"Now l have got it," thought tho re
porter. Here is the we'll of knowledge
at last. Which fundamental theme do
you like best" said he aloud.
"Oh, that i'll the andante," said the
young man, "where it goes rum, tum.
ii, to, ii, 10. tum. with a to, ii, to, tiddi.
iddi tum."
"Sounds good deal like the last part
OF Yankee DOODLE don't it :" said
the reporter.
"There msy be a chance resem
blance," said the young man %patroniz-
'ngly ; but the grandeur of the dimin-
ished intervals is something superb
.'NNhat do you suppose the composer
intended this sonata to express 2"
"Express. express. it expresses, why,
sir, this sonata is one of the hes: exam
pies of classical mcsic extant.' And
The young man turned his glittering eye