Morning journal and courier., 1885-01-15

strains of the last waltz closed the evening s entertainment. The dresses of some of the ladies were exquisite. The acknowledged favorites of the german were Miss McAllis- ter Of California, and Miss Collins of New port, R. I.
 Among those present at the reception and german were: Dr. and Mrs. Chapman, Pro- lessor Simeon E. Baldwin, Hon. Colin M. Ingersoll, Miss Trowbridge, the Misses White, Miss Fisher, Miss Gardner, Miss Hayden, Miss Whitney, Miss Hotehkiss, Mir. George D. Watrous, MT. Thompson, Mir. G. P. In gersoll, MT. John K. Beach, MT. F. G. Beach, and Mir Ripley There were over twenty couples in the cotillion.
 THE PHILHARMONIC CONCERTS. The Second in the Course at Carll's
 Opera House Last Evening.
 The second of the series of orchestral con certs under the management of the New Haven Concert association took place at Carll's Opera House last night The audi ence was still larger than at the first concert, and comprised the elite of this city and sur rounding places. The programme was of a high order and presented principally works of modern composers. The stage had been enlarged so as to give the orchestra ample room, and in consequence of the acoustic inn perfections of the hall discovered during the last concert, such improvement had been made in that direction that the faintest sound could be distinctly heard in any part of the large hall. MT. Theodore Thomas and his unrivalled orchestra naturally formed the attraction of the evenings entertainment and their appearance was greeted with hearty applause. During the whole concert the T attention to the rendering of most classi- cal and often severe programme and thereby manifested their gratitude to the managers of this series of concerts.
 The concert opened with Schumann's First Symphony in flat Op. 39. This work be- longs to the romantic school and bears the Mendelssohnian influence in all it's move ments. Schumann and Mendelssohn being contemporaries, the former followed closely the latter's footsteps. Although composers of the later period have aimed to reach the classical grandeur of Beethoven's symphonies, no one has attained that perfection to date.
 The groundwork and foundation of this symphony is of less determined order. It breathes forth a poetica nature and is lyTlC III US 4G pTCScuGS lO our minds eye natures beauty, the shady forest, the running brook, the dawn of day and the glorious sunlight. Thomas orchestra inter preted this 'fpastoral" with the artistic skill of true vlrtuosos, and moreover, as the mem bers are mostly young men, they entered into it with love. Even MT. Thomas himself, who has now reached the age of matured leader, ,I,o rod h1,I of that the spring days of his life are not over yet, that he still retains the fervor of his younger days.
 Weber's Invitation to Dance, instrunented by Berlioz, is another of those tone pictures which carry us back to the days of our spring time. Amongst his many dramatic works, romantic Weber never composed anything more fascinating. It has many fantastic touches, and while in it's movement it re- presents dance, a musical composition it stands equal to the minuet of any sonata or symphony.
 The orchestra played this composition with spirit and elegance and were heartily ap- plauded.
 Part second opened with that greatest of all oyertures, Beethoven's Leonore No. 3. It is historical fact that Beethoven composed three overtures for his only opera, "Fidelio" He attempted in this overture to represent by symphonic music the plot of his noble drama, and his success in so doing must be wonder to all ages. The orchestra played this work with might and force and we'll in terpreted the living picture of Beethoven's sublime opera.
 Volkmann's Serenade in minor for string followed next. The perfection of Thomas orchestra in its minutest part is well known, but when we listened to his string solely we could understand as in revelation the great leaders musical wealth. The volume of tone color enraptured the au- dience The cello solo rendered in almost lifelike tones the love song of the serenader and when moved by the tender strains his adored one granted him the interview he de- sired So much. Many one amongst the au- dience probably desired to participate in this serenade.
 This was without doubt the gem of the evening and reflects special credit on that genial cello soloist, Mr. Hartdegen
 Rubinstein's Ballet Music to Feramor is of great merit. It is Circassian in it's style of music. The Instrumentation reed instruments is of so quaint an order that it served so to speak, as a spicy dessert to the magnificent musical bill of fare.
 Miss Emma Juch was the vocalist of the | evening" She is young and charming lady l md possesses pure and strong soprano voice. | 1oT NOca1lZaGlOn ana enunclhUlOn are 04C6l- l ent and in rendering Liszt's Lore1ey she | 'ang that we'll known ballad of Heine in a | most artistic manner. Her dramatic render | ng of Liszt's song was a source of great pleasure to the audience.
 The enticing Love Song of the Rhine's Maiden, which brings sadness to the lone fish rman, is very apt to produce similar effect n all listening to it. On being recalled she ang most artistically Batti, Batti, from Mo arts Don TuaQ.
 Miss Juch also sang Gounod's ''Ave daria." The great French composer has nriehed the lyric stage with many valuable peras and has been very successful in that inc as a composer. But it must be admitted hat he made grave mistake when he ap- ropriated the Protestant Bach's PianofoIte 'r@ludium for 8 Catholic hymn. The simi- srity of this song to many of his operatic rias still more detracts from the sanctity of n Ave Maria and makes it still more de- ided failure The religious element is com letely wanting in it and it's very popularity oes not raise it above the level of a love ,ng. Miss Juch sang it with great feeling, nd although everyone was pleased, we are ,rry that we could not have heard her in 8 ora laoitimate comDOsition