The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1889-12-26
MUSIC AND DRAMA.


THE SYMPHONY ORCHESTRA
While the concert by the Boston SYM
phony Orchestra, at City hall, furnished an
evening of unalloyed enjoyment to the great
audience, perhaps one feature that aided as
much as anything to produce that enjoy
ment, was the conducting by Herr NicSisch,
who made his debut in Portland on at oc-
casion. Apparently little under medium
height, of slight, we'll preportioned figure,
with countenance beaming with intelli-
gence. yet. while all these go far to create
pleasing impression, it is the graceful ges-
lures with which he directs, and his wonder
full ability to dispense with the music score.
that makes him exceptional and remarkable
among the great musicians that have pre-
coded him IN the position. 1t is this very
ability to conduct without notes that enables
him to watch every man in the orchestra
and see that he is getting from him proper
reading of the score. Mr. Nick
ish was not only well received, but he
was most warmly applauded at the end of
every number.
The concert opened with Goldmark's
"Sakuntala." one of the most impassioned,
sterling and Dasterly overtures of the mod
ern school. Astounding in beautiful effects,
strong contrasts and excellent shading. The
orchestra is treated by the composer in a
most virile and sensuous way. on par with
Berlioz and Wagner, and Mr.. Nickish
worked up the band, in its Interpretation, in
a most spirited and effective manner. show
ing his magnetic power over his men, and
exciting his audience to high pitch at the
climax.
Eckerrs concerto for cello in A minor"
is the only one of his larger works that holds
place in the concert repertory today. 1t
is free in form. The customary four move
ments are present, but as regards the two
middle ones, run together in a manner which
tends to lessen their individuality. The
work Is written to be played without break
up to the final allegro. The second subject,
which follows after some slight development
of the first, is made attractive by charming
tonal changes There is no stated repetition
OF either theme, the composer giving the
solo instrument related matter of an agreea-
BILE character. Without break, and after
incubation into the key of B fiat, there fol-
lows short dnddnte Of twepty-four bars
that leads into SeherzO ciudce of a lively
character. The andonte theme comes back
In lower position, again the echo of the
subject OF the scherz0 is heard in the accom-
paniment, while the solo instrument con-
cludes the movement to slow tempo The
dance melodies of the Rondo a la Cosaque
are deftly stated and Interestingly developed
by the solo instrument, while the orchestra
affords vivaci0us and patriotic accompani-
nent Mr.. Leo Schulz, the soloist, made a
highly agreeable impression In his solo
work on the cello. His tone was rich and
full, his style mastery. His admirable
technique was particularly shown in the last
movement.
The Norwegian Rhapsodie, No. in A."
op. 10, by Svendsen, introduced the compost
tion of Norwegian whose works are all of
very high character, remarkable for strong
individuality, conciseness and elaborate fin
ish. The rhapsody presented is work gro
tesque in conception, thoroughly character
istic, and while Groves Dictionary states
it does not possess national characteristics,
is Of natural character If other standard au-
thorities are to be believed. 1t was dedicat-
ed to Ole Bull. The rhapsody was given by
the orchestra in brilliant manner with all
the odd effects pertaining to it.
The "Kol Nidrei' of Bruch's, for cello
and orchestra, is founded upon a Jewish
hymn, always played ON the "Day of the
Atonement" in the prominent synagogues.
1t is very solemn in character and beautiful
in its melody. In this number Mr.. Schulz
was apparently perfectly at home, and not
only displayed clearly the fine tone of his in
strument, but played with great delicacy and
tenderness. The orchestral accompaniment.
introduced by the harp, rose to grandeur of
treatment.
The concert closed with Schumann's op. 80,
overture, scherzo and finale. 1t is cheer.
full work, the third written by Schumann in
the symphonic form, and was first performed
at Leipzig December 9th, 184l These three
movements are wholly symphonic in charac-
ter although irregular The work is really
symphony without slow movement The
number was fitting termination to this ad-
mlrable concert, and 1t was executed by the
orchestra in mastery manner, the climax
OF the finale being particularly praisewor-
thy. A more enjoyable ending to the Christ |
mas festivities than the concert of last |
evening 1t would be difficult to select.
CORA TANNER. |
Tomorrow and Saturday evenings Cora
Tanner will apper at Portland Theatre in |
Fascination" supported by the Park Thea
tire Company of Brooklyn. The seats are |
now on sale at the box office. The New |
York News says
Miss Cora Tanner last evening at the