St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1889-06-22

part of the programme, the third num-
Der was Gottschalk's ''Nocturne Reli-
gieuse," in which the band showed re-
fined ensemble, and was encOred; live
ly composition was No. 5, Rubinstein's
s'VaIse Caprice" which was especially
adapted to show the power of the band,
as of the leader. Its rapid changes
from torrents of sound from heavy in
struments to the sweetest warble OF the |
flute or piccolO were executed with such
marvellous accuracy that it seemed as II
one man lingering the stops of a single !.
instrument had produced all the
the famed Hungarian Rhapsodie Of
List, of a similar temperament,
but more profound in its soul-Stirring
pOwer-was executed with brilliant
dash that called forth wave after wave
of enthusiastic applause. 1t was the
masterpiece of the band programme.
The descriptive idyI lacked some OF
the necessary accessories to make it
complete, but it is pleasing prOduc-
ton, full of little innocent tricks to cap
tivate the ear when the sense rests or
lags in interest. The pyrotechnic anvil
chorus was given with the usual spirit
that Gilmore infuSes into it, but ii is
never free from the appearance of ouack
music. The mechanism is too apparent,
and it was apparent. too, Yesterday, that
riatiOns of the theme of the popular,
fantaisie, Carnival of Venice" were an
agreeable variation. Fifteen members
of the band stood up in turn and played
short solos of their own composition
to fit the theme. The euphonium,
the clarinet, the saxophone, the
cOrnet. the oboe. the flute, the
piccolo, the old familiar trombone and.
the sad-vOiced basSeOns were heard, and
every performer was given round OF
applause. The trombOnlst. Mr.. VIII
son, had an excellent composition. and
played skillfully: the piccOlo piped
out in lively style. and the bass
clarinet went down where Mr.. Whitney
would be in danger of becoming jealous;
but the clearest and best solos were
Charles Petit. OF the several encOres
with which the band responded, per-
haps the best was the old favOrite,
Rocked in the Cradle of the Deep"
The first of the soloists to appear was
Miss Campbell. Her selection was the
page song from Meyerbeer's magnificent
opera ''The Huqnenots." The applica-
of such fine, sweet cOntralto TO the
production of this splendid aria Is to
many ears the perfection of vocal music.
Miss Campbell certainly has pure, rich
cOntralto voice. 1t is more than a voice,
it is a well of harmony seemingly in.
exhaustibIe. The flow of melody from
her lips is like sparkling fountain.
She trips from note to note without ef-
fort, and her face expressing all tho
emotions suggested by the music, Is q
pleasant one to look upon as she sings.
She responded to hearty and well de.
served encore.
Mime. Stone-Barton made her appear
ance wreathed in smiles, and as she
bowed to the audience the orchestra
played the opening bars of La Stella"
by Proch. 1t is beautiful song. The
variations are all reasonable, and do not
lead the listener away from but into the
spirit of the song. Each variation
was interpreted by Nine. Stone
Barton rose higher than its predecessor /.
until the climax isfenched in tone. still
as pure and clear as the first. but beyond
it in intensity. As an encore the great
soprano sang the sweet Cuckoo" song,
in which her chording with the flute was
especially fine.
; Herr Benedict sang baritone aria
from the German, and did not sing eX-
ceedingly well. He was recalled and
sang "A Warrior Bold" into which he
put little fervor or spirit.
No. 9 on the programme was Mr..
Whitney's solo, ''The Two GrenadieTs."