Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1889-11-11
ADJUSTMENTS.

4
at night 1900 people were present. The
concerts were received with evidences
of appreciation that must have been graft
| flying to the veteran director. The eombi-
nation he has brought to the coast is a
very large and a very strong one,
and presents as finely balanced a
| body of musicians as probably have
| been gathered in the United States
| What most impressed the auditor is that
the control of the director and his fine
taste are such that there is no confusing
or oyerpowering volume of sound
| though there are about fifty performers
| before him. 1t is evident from the time
the first strains OF the band are heard, that
master hand controls, whose taste and
| musical judgment distinguish between a
| crash of Instrumentation, and the devel-
| opment of exquisite harmonies by a null
| titude of instruments. But while there
| is not roar of brass and reed, there is per-
| feet roundness of tone, and all the nanifes.
| tations of power indeed, the auditor is
| constantly impressed with the sense of i'm
mense reserve and depressed power in the
| band, and cannot help thinking that Gill
more directs with q stiff rein and is engaged
in holding" if the term may be used, the
musicians before him. 1t is patent that
every man in the combination is thor
oughly trained instrumentalist, since every
instrument is expressively, tastefully and
correctly played, and no one is prominent
TO the exclusion of another. The refine
ment of the orchestration was a marked
| feature of the performances; it was that
1are combination of simplicity and ele-
gance in dealing alike with classical and
| simpler subjects that won the band such
favor with its audiences. The color, the
| contrast, were as strong as the most exact
| ing lover of the ford could desire but
| they were at no time used to belittle the
| simple elegance of the performance. 1t
was a deeply interesting exhibition to the
| lover of musical art. In novelty of har-
monies and richness of modulations, and
the melodic character of all the instru-
| mental parts, though there was wondrous
| completely of tone resulting from the in
tricate character of the composition, the
grand scena from "the Huguenots" was the
| chief Of the afternoon numbers, and next
in order was Gillet's simple and delightful
| 'Salonstuck." (In The MILD. No themes
| could be in stronger contrast and vet both
] invite equal commentator for execution
| by the large body OF instrumentalists. Ia
| the Introduction of cannon, fired by electric
| connection with the band stand, Gilmore
| approached about as near perfection as is
to be attained The six four-pounders
were brought in with their deep bass en-
phasis with the precision of drum beaten
! by a trained musician. In fact, fine appre-
citation of time is one of the most noted
characteristics of Gilmore's direction.
While the concerts were grand successes
and the finest examples of delicate aud
beautiful musical Interpretation ever given
by band or orchestra in this city, truth
| Ie thoK - Oh 10 al ,Io@ Al.
Pavilion is not the place for any kind of
concert. Its four hundred feet of vacancy
in all horizontal directions from the center
its eighty feet of height to the roof, makes
it the tomb of sound, while the echoes
offend and beat back the passages where
| the quality of power needs to be mani
| tested. Could the wings be closed, the main
hall would be admirably adapted to concert
use. To ask such vocalists as sang there
Yesterday to entertain the audience in it.
is little short of cruelty. The courage with
| which they met the occasion, however,
speaks volumes for their devotion to their
contracts. Despite the appalling cave of
space they were called upon to sing into,
they won the plaudits of delighted audi
ences. Signorina De We're is soprano of
great power and delicious sweetness and
mellowness of tone. She has the highest
of,all musical Misunderstanding. Her
| enunciation is the very coinage of one of
the most difficult of musical arts. Her
voice is simply exquisite in its purity, and
her method is apparently so effortless that
| It is delight to hear her sing, such is her
repose of manner, and yet her ferYor of
execution. Miss Dickerson's voice is a
contralto of strength and vigor, rich and
resonant of tone and animate with feeling
| Signor Campanini, the tenor, is familiar to
the musical public on the Pacific coast, and
the quality of his voice is well known. If
| it is less sweet than formerly, it has not lost
its penetrating power. Signor Bologna,
| the basso cantante, was heard only in trio,
and not to advantage. The trio, by the
way, was a small sffair-an old musical
laughing fit, not worthy the occasion.
| Nine. Blanch Stone-Barton is soprano in
whose voice the dramaticq quality is happily
mingled with lyric excellence. The i'm
preston she created was most favorable
| Fefvor and self-possession, with accuracy
and power with reserve, characterized her
performance. Signor Duznisi is a tenor of
not phenomenal voice but of sterling
merit; his middle register contains his best
| notes-they are firm, devoid of "throati-
ness" and of effective quality. Myron
! Whitney, the well-known basso, shows far
| less of the wear of years than was antici-
| thorough knowledge of music. His
voice retains its sympathetic quality. 1t is
| probsble that save in his upper notes not
| half the audience heard this basso, of
| whom Americans have so many years been
proud but this was due to the immensely
OF the auditorium and its bad acoustic
properties.
OF the instrumental soloists, in the after
noon Mr.. Lefebre alone appeared. His
Resurrection" upon the saxophone, was
performance that would satisfy the most
exact taste, but that he should have made
so unfortunate a selection for an en-
core as the "Cricket on the Hearth "
after his exquisite rendering of "Resur-
evening Bent (cornet) and Raffayalo
(euphonium) gave the "Miserere" fault
lessly. Herman Bellsledt, cornetist, played
the Centennial Polka" as only a finished
artist can. Critically judged. it was by
all odds the most prominent and artistic of
all the solos. The programme presented
the name of Miss Clara Poole as con-
traito, but the lady is sick and has not ap-
peared with the troupe for some weeks. In
the evening, IN her place, Miss Dickerson
reappeared and while her selection from
the "Huguenots" was not executed level
with the "Rondo' of the afternoon, she
pIOfcu AOn anu tuSCllNe
an artist she is. The gem of
the evening Instrumentation by the
band was The Pearl Fishers" and it was
the most difficult of all the twenty-one
numbers given by the band in the two con-
certs. The finale of the evening was the
"Star-spargled Banner" and the anvil
chorus, two in one number, as an extra,
and with artillery accompaniment.
Considered as whole, the Gilmore en-
gagement here proved to be the most notable
musical event recorded in our annals.
Gilmore could return here and command
larger audiences than those of yesterday.
| Speaking of him Hdrper's Weekly of re-
cent date said Patrick Sarsfeld Gilmore
| to-day stands without peer in his line in
| this country, if not abroad" tits probable
that the audiences of yesterday would,
if they could be " pooled" concur in that
! judgment. He organized his band in 1858,
| and there are men in the organization to-
day who have been members of it for more
| than twenty years. He is 60 years old. but
| directs to-day with as much skill and or
ganizes with as fine Judgment as when at
New Orleans in 1864, as Chief of the Bands
of the Army of the Gulf. be lead in the
Star Spangled Banner" 10000 children's
voices and 500 musicall instruments, sup