St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1885-06-14

nicely in those delicate transitions in which
one set of orchestral voices is succeeded by
another.
HE DIDN'T CATCH ON.
ST don't just understand what that
MEANS" said the husband. land I think
there has been some mistake made by the
printers. Instead of certain mechanical
absoluteness' it should read certain abso-
lutte mechanicalness,' or absolute mechani-
cal certaintyness' Perhaps it might be
meant for "a certain mechanical movement
of absoluteness in unity However, the
beauty of the figure is not lost, for the
remainder is clear and a small blunder of
the compositor is all.
Now, if you'll help me to another cup
of coffee, / will put you on to a beautiful
smile in that sentence. When the writer
speaks of mechanical absoluteness of unity
in movement, as of one instrument playing
with the weight of many he is evidently
thinking of the movement of gang
saw. He has, doubtless, often watched the
huge logs run through the half-dozen saws,
and beside calculating, in cold figures, the
amount of lumber, lath or Shingle sawed,
has allowed his mind to soar to higher
things, and has made a mental note of the
absoluteness of unity in movement as OF
many instruments playing with the weight
of one, and now. on this grand occasion in
musical circles, has reproduced it.
81 am sorry it had to be twisted from its
abSOlutenesS of unity by some of the bum
Cling cOmpoSitors. The latter part of the
figure is well turned. The fastidious
nicely in those delicate transitions in which
one set of orchestral voices is succeeded by
another How subtly has he clothed his
4bn ,fnr
has partially spoiled the effect. What he
meant was, the orchestral nicely in those
transitional delicacies in which one set of
fastidious voices is succeeded by another
This l take to have been his meaning,
though the context is not sufficiently clear
to positively identify just what his idea was.
1t is, however, delicate way of expressing
a commonplace idea.
IAN ORDINARY MAN,
instead of saying delicate transitions in
which one set of orchestral voices is sue
ceeded by another would have said,
of the trombone drowned out the sylvan
pipings of the kettle drum an expression
far less beautiful and Indicative of wholly
practical nature. VIII you read ON, my
dear?"
Beginning where she left off, the wife
read:
1t would be hard to say that this matchless
organization is more absolutely expressive
now than heretofore of all the wide range
between pianissimo passages so soft that one
must open his mouth to hear them, and the
grand though always controlled volume in
those broad and soul-stirring cadences
whereby an audience is swayed and thrilled
until it becomes a spiritual sounding board,
vibrating like the instruments under the
rhythmic beat of the directors eloquent
hands
''This, too" said the husband, sis some
what less spiritual, but well put. What a
spectacle is pictured-the great audience
with its combined mouth agape, for two OF
three pianissimo passages; the simultaneous
clatter that must come when the soul-stir-
ring cadences begin to show up, and the
audience closes its mouth before beginning
to sway like the spiritual sounding board
and begins its tattoo under the beat of the
baton, is merely limited at, and scope is left
for the imagination. think it is safe to say
that there must be some unusual power in
these concerts, or an ordinary human being
could not have been so carried away as to
have so picturesquely described their salient
features. We will go to the concert this
evening""