Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1883-05-15
THE MUSIC FESTIVAL.
The FIRST CONCERT eoUNop,s
bREnEMPTInN

harmonies under a very food OF the bright
est light From the stage there was visi
bic a vast sea of upturned fsces radiant will
the happiness of the great occasion. Besut,
Get off by beautiful and exquisite toilet
was pronounced and prominent in al
parts of the great hall, the decorations O
which bore very we'll the searching and re
vealing electric light. More than 5000 per
cons were present. Every seat was occupied
The culture not only OF Memphis, but of the
surrounding country was in force, and gave
to the Interpretation of the severely classic
programme the most intimate attention. Nc
city Of like population in the country can sur
pas the array Of handsome women and brave
men who greeted the greatest OF orchestras
Warmed by the inspiration Of the Festival
which marks an era in the musical annals oil
the city, and delighted with the gala appear
auce Of the house, the vast audience was in a
pleasant, Joyous msod, and was prepared to
accept what had been arranged for their en-
joyment without murmur and with satisfac-
ton. This feeling was instantantiy conveyed
10 the artists, the orchestra and the chorus,
and the result WAS en- atmosphere OF
kindliest sympathy ard good feeling.
The great stage, with its effective back
ground of cerulean blue, rising as it were
from bed Of flowers and fernp, crowned by
the name of the society in roses, was most
agreeable contrast Of light and brightness to
the auditorium and its massee of color and
life. With the orchestra well out to the
front and the chorus encircling il with a
band Of the chastest hues, enhancing the
pretty faces OF the women that formed its
chief support, it seemed to borrow something
OF the brilliauce OF The daylight that had
fed. This was one Of the most enchain
ing OF the many pictures that satisfied
the Well-pleased audience. Looking in any
direction it was easy to find these pictures.
They appealed 10 the eye, instinct as they
were with the life and amin alton of the
buoyant and happy throng. Everywhe
above in the galleries, and below them, the
stag OF the free" was 10 be seen the most
conspicuous Of the decorations, repeated
rs il was, more than hundred times,
and eveTgreens were in such prefusion
as 10 impress a sense of arborial shade in
closing the hues Of The rainbow and imprison-
ing the light Of day. /. was an ensemble Of glad
humanity, tinted by all the prismatic hues,
illuminated by the penetrating rays from the
electric arc, which had chased the night
away. Precisely at s o'clock, Mr.. Thomas
who was Loudly applsudtd as he entered
grouped the attention Of the orchestra
and the overture 10 Iannhauser was beguH.
This is a composition so familiar TO
the members OF the famous organic alton
that il would be fuperfuous to say that they
played il peri, ctly, as they did Beethoven's
"Seventh Symphony" Weber's Invita-
ton 10 the Dance" more familiar, was
especially appreciated by the audience, who
insisted upon lis repetition, complim emit
which Mr.. Thomas acknowledged. The con-
certo No. 2 in g minor, OF Saint Saens, a
most difficult composition, was superbly and
conscientiously played by Mime. Julia Rive
King, who, in the last few year,, has made
immense strides in her art. Her
toHch seemed to be venting in sym
-P.tkys-but this might be due TO
the instrument abe played on, which
was not responsive, was not resonant,
was destitute Of anything like the sing
ing quality, and gave out sometimes hard and
wooden tones, notwithstanding the thoroughly
artistic temper with which Mime. King did
her work. The andqnte movement did not
awaken any sympathy In the audience, due
not to any failure on her part; but in the
sOstenuio and the allegro passages she aroused
positive enthusiasm and recall, which Of
course she could not respond 10, owing TO
the length OF the concerto and the heat.
which up to that part OF the
programme was almost sitting. Nine. King
is pianist Of rare fidelity and technical
skill, of strong, earnest and firm touch and
Of extraordinary memory. Broad in her
treatment, she is therefore very effective in
ensemble music. Perhaps with another insru-
ment we might be able to add sympathy,
and hearing an Interpretation by her of
Chopin composition to say she possessed po-
stic feeling. Her chief difficulty last night
was the immense hall, but this
she overcame with great skill
and without any seeming exercise
OF more than ordinary power. There are
very few pianists who can essay the Saint
! Saens concerto or the difficult "Fantasie in
Hungarian Airs" by List, which she is to play
this afternoon, and they are fewer still whe
can play them SO well, with such clearness,
force, precision, delicscy. breadth Of treat
ment and maturity Of judgment. After Nine.
King, the orchestra gave Liszl's "Hun-
gariau Rhapsody No." 2, performance
marked by all the excellencies OF the
renowned orchestra. This closed the
first part. The second was made
up of the Redemption, the oratorio
upon which Gouuod rests his fame-a work
that seems to grow in favor, especially with
musicians, the often.r it Is heard. Though
it treats of part OF the same subject,
it differs altogether from the Messiah.
Handel il that wall known oratorio treats the
tragedy OF the death of Christ as the sequence
OF His life, but with dramatic intensity that
is only softened al the close by the choruses
"Worthy is the Lamb" and the "Amen."
He opens hisgreat work with the comiorta-
BILE assurance and holy hope, and closes it
with the triumphant joy of its attainment,
which is 80 convincingIy announced in the
solo, II Know That My Redeemer
Liveth." After the travail there is the
surprising rest and peace in the knowledge
of the risen Lord. All through The Messiah
the divine message, power and mission OF
Christ is supreme. 1t dominates and per-
vades every bar, and to thoss who hsve read
the story OF the Christ with thoughtful love
and reverence it comes thus embalmed in
harmony as if in its heavenly fullness. The
Redemption differs from it in that Gouncd
takes the uman side of the character
Of Christ something like but not quite so rad
icAlly as Rembrandt did in the paintings
that are sgloW with his color, and though
full Of the anachronisms OF his time are so
lofty as illustrations OF the life OF the meek
and lowly Jesu'. The great pAiater, himself
of humble origin, wss cap,ivaled with the
gentle, Don-resislIng man Of the people who
was yet strong and earnest for what he be-
lieved was right, who pressed his doctrines
upon those round about him by the cou-
vincing power and extraordinary magnetism
of q character true to a lofty ideal, and
honest in it's daily illustration of the golden
rule. Gounod's is not 40 merely human as
this. His Christ sis very God, begotten, not
made" but the human side of the Christ,
"the man Christ" is most prominent in the
Redemption until the death, the resurrection
and the ascension are reached. Here all
that is pathetic, all that is sublime in
hope and faith ia made manifest hy