Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1883-05-14
Sketches OF the Great Composers Who
are Represented in the Programmes,
aud Review Of Their Com.
positions.
Brief Biographies Of the Great Leader.
Thomas, the Artists, SolOists, and
Full List OF the
Ch0risters.
The Building and its Decorations The
Credltable Work OF the Commit
tses-A Great Success
Predicted.

Out Of the anIieties Of the early days of
spring the Mozart Society has brought forth
results that eneourge The belief in a great
success. Well directed and steady labor in
the development Of carefully mstured plans
has cleared the horizon of all doubt, and the
singers and the public alike are rejoicing in
the great Music Festival that is to eclipse
everything of that order that has ever been
attempted here. No musical event in our
history will compare with it in scope, far
reaching results or interest. The old Phil
harmonic Society and the Mendelsaohn Club
In their day accomplished what was deemed
great things, the latter especially,
but nothing that will compare with
this in artistic dignity, in dramatic
power, in strength of voice, certainly
not in orchestral sweep, volume or strength.
Oraterios were produced in very crsditable
way by the Memberships, and for few Sea-
sons they gave concerts that were much en-
joyed, because the programmes neither taxed
the vocal energies or knowledge OF the ANA
teurs, or the attention of the audiences too
severely. These efforts were amateurish,
and of course all but colorless. but they
were, nevertheless, enjoyable, and were &C.
cepted as the promise Of better things to
come. But the two epidemics of 1873 and
1879 played havoc in the ranks of these am
bilious vocalists, aud fer time there was
mourning and no rejoicing. The Mozart So
ciety, reorgsnizsd within a year, musters
many Of the surviving members Ct the Men
delssohn Club in its ranks, and is the legiti-
mate heir and successor to its place in the
confidence Of the public. Emitting it TO
this confidence it ia about to certify to its
ambition in something more than fostering
the individual designs or desires of its
members By launching forth in supreme
effort with the Thomas orchestra, the
FIRST musical organization of its kind in
the world. 1t is this that gives character to
the Festival. Without the Mozart Society
THOMAS Is HOST IN HIMSELF,
with it he is strengthened and localized, and
for the time is identified with Memphis in
the effort she is mus making to signalz. her
capacity for something more than trade. 1t
is not merely the coming Of Thomas, the
supreme master in the production OF or
chestral effects, that makes this Festival the
thing of 80 much promise that il is, but the
debut Of the Mozarts on an artistic Stage
under the leadership of this master and
accompanied by the orchestra that under
his direction has achieved so noble fame
throughout the civilized world. 1t marks
an era in the history Of Memphis, and il
signaliLss its progress in an art, its love Of
music and its capacity to appreciate the beat
that srt has yet produced. Ii is an event in
which all classes should feel pride, it is one
the reflected glory OF which will find its way
into every home and every heart. We
say this assuming that the programme,
in so far as it il, to be interpreted by the
Moxarts, will be 30 st least to a degree, some
approach to the high standard below which
Thomas never falls, and to which he seeks TO
elevate every musical organization in The
country. 1t ia great venture for the Mo
zarts to attempt
THE REDEMPTION"
one OF the three greatest musical works Of THU
last quarter of the cen!ury--the other two bein:
the DsmHatisa Of Faust, by Berlioz, and PdTsi
faL, by Wagner. Only a few months have
passed since the Redemption was first given il
London and aroused the musical dllet1lte Of
that most musicsl of the capitals of Europe
TO the highest pitch OF fervor. Subjected t.
the crucial tests OF the closest analysis it was
declared TO Re among the gres,est works thu
genius of man has yet embodied and worth,
10 take its place with the Creation, The Mes
siak and the Elijah. 1t is full Of the promis,
of the hope that its title implies, aud is per
vaded by lofty religious fervor in keepin:
with the divine message which the ascension
sealed. The listener is carried out OF himssll
by the pictures which round thus so glorious
ly and pathelically paints, ard is over
Shsdowed by the almost divine spirit whiel
pervades every note. To sttSmpt such
work is venture TO make the best trsiue,
choruses shrink, ard but for The thorough
training the Moz 'rts have hsd at the hand
Of Mr.. Downs, very often 10 The form of per
sonal lessops, We should despair of their cue
cess. Dul Desioes tnl-, tLey nave utueKtahc
the choruses OF
MKNDEIssoHN's elijah"
the best of tho works of one OF the mos
profoundly gifted composers the world ha
yet seen. AZ its title tells, Elijah Is the stor
of one of the greatest of the great prophet
of Israel, to whom, as Rsnan says, tbs
people were indebted for the spiritu alizir
of their religion and the purifying {
it from the Journalism and grossne:
in sacrifices which threatened the forge
fulness of Its central doctrine, th
unity of God. There is no story in the mo-
wonderful of all books rich as that {
Elijah, who was caught up into heaven, VII
was 30 pure az to be worthy of translatio
without passing through the process of Ii
rsbirth through death. There is the swee
ness of childlike faith in it, the strengt
and frmneE, of the perfect man surrenderir
himself to spiritual guidance as the proph'