Delaware gazette and state journal. (Wilmington, Del.) 1883-1902, 1886-01-14
oBos zxp KnrrIrpnum.
Theodore Thomas Trying Som
Interesting Exporimenss.


Theodore Thomas Trying Some
Interesting Experiments.
Evening Post, Dec 18th. fl
One of the advantages of having an ex-
tended series Of popular concerts is that
il enables Mr.. Thomas to make some ex-
periments which, while not appealing to
the most dignifed aesthetic sentimentals,
help to crafty Legitimate curiosity re-
gardlng the capabilities of some obscure
OF neglected orchestral instruments. At
yesterdays matinee, which was one OF the
young peoples series, two instruments
were brought into prominence which
probably the Oldest concert-goers had
never before heard in solo parts-the oboe
and the kettledrum. The experiment was
eminently successful, both the soloists
being recalled and obliged to repeat their
performances.
The oboeist was of course M. Bour, of
the Paris Opera, who has created great
commotion in this community both by in
volving Mr.. Thomas in lawsuit against
the Musical Trade Union, and by starting
y discussion among the critics and anna
Tours regarding international oboe-play-
ing. Nj. Bour showed by his playing
yesterday, better even than he has hereto
fore, that he deserves all the prominence
he has gained in so short time. He
played fantasia by Maitland, which not
only enabled him TO demonstrate that he
can execute the most difficult passages
with the ease of O master, but gave the
audience every opportunity to Judge Of
the quality of histone-the typical French
oboe quality. The word ''thin" SO often
used in this connection is hardly as cor
rect as small, clear, and sweet would be.
The German oboe tone, like the German
language has throaty, bassoon quality,
while the French oboe tone, like the
French language, seems slightly nasal.
This nasal quality, however, is not so
conspicuous as the clear transparency
and luscious sweetness of the tone. NJ.
Bour's tone is characterized in the lower
notes by a resonance which places il al
most on a par with the clarinet, while the
higher notes have mellow richness and
expressiveness suggestive of the finest
violin tones. His tone, therefore, cannot
be characterized by one word, because il
varies constantly, like the touch of a first
class pianist. In the last piece on the
programme the oboe once more came
into prominence. II WINS in the ballet
-music from Saint-Saens's opera "Henry
VIII.," in which the French composer
cleyerly initiates n bagpipe with the oboe,
the drone being reproduced by long drawn
tones on the 'cellos and an iterated single
low note ON the harp.
Mr.. Gordon Cleather's solo on six kettle
drums naturally interested the young
folks more than anything else, and was
not without interest to the older folks
present. Mr.. Cleather, formerly general
manager of the Crystal Palace in London,
is certainly most remarkable performer
on his instrument. His six timpani
were tuned in 4, b flat, @, d, L fiat, and
octave, and he had them arranged in a
sernicircle. The extreme agility required
OF him in passing from one drum TO the
other with Lightning rapidity would have
produced comic effect had it not been
modified by the gracefulness of the per-
formers gestures. Mr.. Cleather showed
that there is melody even in a drum, and
his playing suggested the fine effects that
would be possible, under the most favor
able circumstances, in Berlioz's REQUIEM,
for instance, where the kettledrums play
such prominent role, though as COM
monty played there is neither melody nor
harmony III them, but only rhythm and
noise.
1t is something very amusing to listen
to the comments made by the children ut
these young peoples concerts. Yester-
day, when the double BASES were brought
ON the stage, bright little boy of five
was heard to eXclaim "0h, papa look at
the big, fat fddles |"