Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1883-05-11

affection before his death in the loss OF his
sigh, but like the great symphonist he en-
joyed a mnasnro of compensation for Il in
'ho knowledge OF the iumort. Iits shat
awaited him. Beethoven, whose later years
were made profoundly pathetic by total
deafness, the deprivation Of that sense which
above all others ia e.seotial to the nusiciap,
has been remembered by his disciplc, Mr..
Thorn Is, vii b four places in the frs. and second
programmes. His Seventh Symphony" and
that other equally beautiful production
known as the &C Minor" the vocal Trio,
'Tremate, Empy, Tremste," a1d The chorus,
Sea Calm and Happy Voyage" OF the
magnificent "Symphony in C Minor" Goethe
said to Mendelssohu that it was grandiose.
at is very grand, very wild; it makes one
feel that the hou'e is shout 10 fall down;
and what must it be whea played by a num-
Der OF men iogelherp OF the Seventh
Symphony" il may be said that it is exquis-
lie in measure and rhythm, ard breathes the
very spirit of melancholy, with slnts of
sunshine and warm caress. OF The trio moth
ing more need be said than that it is in the
severest and best method OF the illustrious
composer, and will test the capacity of the
artists to whom it has been entrusted Tor rem
dtiou. The chorus "Ssa C4lmn hiss for it's
theme 4 poem Of Goethe, Of whom Beethoven
had so high an estimate asto regard him above
ali princes sna- psrsHszsrE.---- 1t ix : fsfgfEfy
descriptive composition, and contrasts the
calm Of The sea with the ultimate prosperous
voyage with E1e effect. 1t woald fill many
volumes e rsssEcfs; il -ap- e-=sslif4hie Wy -
resame Of Beethoyen's works. They COM
prise ali descriptions, from the severely
classic opera Of FideliO to simple songs, and
embrace masser, sopatas and Symphonies,
the latter considered the hi hest form Ct must.
cal composition. OF this Beethoven has left
many exsmples, snd on them his fame rests
rs upon foundation as solid as that OF the
earth itself. He LIVED TO suffer an eclipse,
as well as from the loss OF hearing, and 10 see
an ungrateful public prefer the light and
easy melodies Of Italian, French and Eu-
glish composers 10 those compositions
10 which succeeding generations have
eagerly given place as the very
lions, the complement! of Michael Angeles
works as painter and sculptor, and of the
tragedies, plays aud comedies that immor-
talizs Shakespeare. OF the latter Bee
thoven was an ardent loyer, and be once ad
vised an aspirant vino desired to excel in
executing his sonatas f'to read Shakespeare"
Eccentric he was and very proud, but he
WAS free from all forms OF vice and seemed
to com prehend that to BE- the medium of di.
vine inspiration, as he was, he must keep his
soul pure. Wagner, who has but recently
passed 10 his rest, was, during his life, the
greatest disciple Of Beethoveo, whom he
rightly regarded as the very frat Of all COM
posers, The loftiest musical genius that ever
lived. The overture 10 his opera of Ianahau-
ser has the first place on the first program me.
order OF Wsgners operas, and ia
rich in The promise of his central
idea, that The action Of a great lyric drama
must proceed from its tuner motive, all lis
and passage being developed independently
and up TO what might be termed its natural
value or place in the play, thus SECURING the
freedom and breadth essential in a great
work of art. Wagner disdained the catch
penny OF melody, and sought and found in
intricate and complex hsrmonies the form
and color which this generation now admits
have never been surf assed even by Beethoven
or Gluck 10 opera. OF Weber's compost.
lions there are two on the FIST and second
programmed. The 'Invitstion TO the Dance
and the contralto solo 80 Fatima," from ihe
opera Of Abou Hassan, which he wrote il
1910 and first produced in Dres
den. 1t is no longer remembered
but the fame of the composer rests
very securely on Der FeisckHtz, which
though Weber ranks below Mozart, is very
much more popular than any Of that com
poser's operss. Pauer, quite celebrated
German critic, says that "Webef's defect
arose from want Of thorough musical train
ing, bu. that they we're nothing when Sc
against his higher quaiiies-his i'm gina
ton, grace and sweet ess. The piano in hi
hands seemed tuned into a new instrument
and what he originated Schubert, Chopin
and Schumann have more highly pei
fected. He first invented the waltz and imparI
ed its true character TO the Polonsise, and o
Mendelssohp, and even Wagner, his infuenc
is uudeniable.p The "Invtation," which ia
fine example OF Websr's waltz music, wa
arranged for the orchestra by B.rlioz, to b
used for the ballet in the performance of d.
Feisek.tz in Paris. SchumanD, of whoI
Pauer says that he took greater hold upo
the German people than Mendelssohn, ia req
resented by two compositions on the first al
second programmes, the "Trsumerie," mo
dreamy idyl, ard the chorus, "Gips
PAuer, above quoted from, says Of the al
thor of these GENE, that "All who love mi
steal art will reverence the name OF Robe
Schumaun. His works sppeal 10 an INTEL
gent audience, cultivated By poetry; an
though We have not all the olearness an
grace OF Mendelssohn We have far mo
depth" And he places Sohumsnn's wi
Schubert'4 songs in preterriug both to Me-
dslssohn's Songs Without Words" OF t
great pianist LIZ We are TO have two coz
positions-the Hungarian Rhapsody No.
for orchestra and the "Fantasie on Hung
rian Airs," for piano and orchestra. Nothi
better than these numbers could have been
lected, 10 illustrate the power, patriotism a
caprice OF he most renowned OF pianists,
executant without superior, composer