Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1883-05-09
THE mgsIC FESTIVAL

it was chiefly confined to Boston, and
was only occasionally heard in other
parts Of the Union. Its growth was slow.
1t is but 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
now matter for litigation in the courts.
Elaborate descriptions Of it we're sent cut to
ne South and 10 the West as if it really was
he biggest thing in creation" The people
of the North re joiced with exceeding great
Joy over its possession, and pointed to il and
To the hall wherein it found home with
very pardonsble pride. They also pointcd
with pride 10 the Handsi, and
Haydn Society as the only organization
Ii the Union that couI2 attempt the grand
and solemn works Of the great masters 80
familiar to the Common people of old Eng
land through the Birmingham and other
festivsls, and the concerts annually given in
all the large cities of the British + npire.
But the chorus Of this society add The big
organ, while the objects Of pardona-
Die 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 fostered the opera
and, se consequence, that form OF musical
Interpretation there resched its highest de-
Velopment in scenic effects and orchestral
support. The leaven with which the French
element OF the population OF the metropolis
OF the South had leaveusd the taste of the
people was in nothing so apparent as their
If sfn
Boston, was without great oTche.tras or bands
OF mixed reed and b ass in.truments,
the Crescent City enjoyed both. The
gayety CT the +. ouch spirit a5ouuisd there,
and survived every effort CT The sedstp, the
Puritsuic Americans to crush it out. New
Orleans, as 1t is now, was in its earliest DAYS
thoroughly musical. 1t was the capital to
which all that was cultured OF the planting
population found its way once a year for
rest, recreation and enjoyment. Ia the win
ter season it was gay as Paris itself, and
its operahouse was distingushsd for The
standing OF tie artist, who appeared on its
stage, for its charm, its orchestra, iis acces-
series and effects as that of any of the most
favored citie' Of Europe. L, was great
musical center, from which there vent out a
broad and liberal culture in the most fs
cinsting and dificul, Of all the arts TO the
remotest corners OF the adjacent S,ztes. Bat
the civil war revolutioHized all this, and far
time all that hirges on sentiment wss
in sbeysnca at the South. Confronting
very stern reality in the enforce
ment OF the reconstruction laws, music was
put away for a more convenient season. Bat
in the North it Wss far otherwise. There
the martial spirit of the people had been
aroused by every aid that was possible, and
bands and orchestras were multiplied to sn
extraordinary degree. Theaiers and music
halls and operahouses we're increased ten.
fold in New York. Earops was steadily
drained Of its best musicians to supply de-
mand that grew as the foreign population
grew in numbers and in wealth. Thomas's
Orchestra was one OF the results of this de.
snrsd, md frs g6aduaI but steady approach
to supreme excellence fairly indexes the adj
vance that has been made by The people 10 !
their comprehension and love for the highest |
form of music. In 1851 be bsgsn the forma- |
tiou of his orchestra amid the tumult that |
ensued upon the initistory movements of the
civil war, AID in 1866. inauguratea
at the Terrace and Central PARK
Gardens New York, the popular concerts
oul OF which emerged the symphony con.
certs and afterwards the festivals, which
few years later we're repeated in tour
through the South and West. This was the
most hazardous of the enterprises of this
greatest of all living orchestral leaders, but
its results proved the truth aud 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 responsive
chord in the breasts of the populsce, ia art
at its best. Thomsswas everywhere greeted in
1872 with almost sff.clionate warmth, and
city We'd with city in claims upon him as
former citizen. Siuce that memorable tour,
when he was heard in Memphis, for the first
and only time, he has confined himself chiefly
to the East, occasionally visiting Chicago,
St. Louis and Cincinnati, making
his homs in the latter city for
few months as the musical direc-
tor of the college, which is undoubtedly
the musical center of the Wes. Returning
to New York, be has ever since devoted him
self to the creWning task of his life in the
production of The works of the great mas.
ters, aud go illustrating them as to brig
them close to the hearts If the common
people. No man living has done 80 much
toward the popular comprehension of Wag-
ner, and the immoria Beethoven, the Snake
speare OF music, was merely name 10 the
great mass Of mankind in America uatil be
uufolded the works of that most exalted OF
tone poets by interpretations wonderful
for c,loring and as perfsct as the gorgeous
and magnificent paintings of Michael Angelo
or as beautiful as those of Raphael. In this
labor OF love Thomas revealed the posses
sion of the highest artistic excellence His
personality dominated, and was made mani
feat in the production OF an ensemble that
was the delight of all who heard him, and
the special wonder OF the more skilled musi-
clans As S,lvini in the CiUi Death or
Booth in the Fools Revenge, as Richel as
"Pbaira," Ristori as Elizabeth" or Bern
ardt as "Adrieune Lscouvreur," so is
Taomas in The Interpretation of the masters.
But, whereas these great artists are confined
10 the control ard direction OF their own
plwers, he has to make use of those of
hundred artist, every one OF them essential
to the volume, the deicscv, the intensity of
passional emotion and feeling which accent
uate the more daring flights of great musical
composera. 1h, artists OF the dramatic
stage merge themselves in their work, identity
themselves with the character they assume,
the situation, the era, and all the varying
and succeeding stages of its LIE, but Thomas
not only develops in himself complete and
masterful Knowledge of his composer, and
rsproduces it in its eutireiy in his mind
but guides a hundred hands and
twice hundred voices to make for
thousands the beautiful pictures thus
revealed 10 him in all their perfection. He
invests the players with semethiog of his
own spirit, uni6es their powers and the re-
sult is seen in the unfolding Of the composi-
tions of Beethoven, Mendelssohn aud No
zart with such accuracy, such nicely in de-
tail ss challenges the warmest commehda-
tions OF musicians aud the enthusiasm OF the
people. ThomAs's Orchestra gives Thomas
Interpretation of STINT Sseus, Neils Gade,