The morning call., 1890-05-20
The Browne symphony Concert.


The j. Lewis Browne second orchestral con.
cert took place last evening at ODD Fellows Hall
The place was filled with very select audience
and considering the many changes that had to
be made In the personnel Of the orchestra the
concert may be Styl led Il gratifying success Mr..
Browne mas shown Ills renued taste In the selec-
tons which formed his Interesting programme
and his good intentions could bring splendid result
II The musicians would only be willing to re-
hearse as often as possible. The orchestra as IL
now stands lacks generally speaking, more de
clsiOn Of attack and that steadness necessary 10
make perfect ensemble. However, we we're
agTeeably suTpi ised 10 hear the elegant overture
from Goldmarks opera, "Sakuntala," with
many shades and good cOlOriug. This over
ture is spontaneous piece OF music which
adheres, perhaps, TO the Mendessohnan style
rather than to The modern noisy and sensational
manner IL contains Il graceful melody cleyerly
lntersected by counter melody, the whole be-
ing lmpTegnated with a singular Oriental flavor.
We must also particularly mention the e1ecu-
ton OF the "Albumbiatt' by Wagner, tran
scrlbed for violin and orchestra by Wilhelmi.
Mr.. RiIzau played Its obllgato with good effect.
L1szr WAS WELL REPRESENTED
BY his sparkling RhapsodIe Hongroise No 2,
which was performed with a dash ana color that
provoked warm encore, and his symphonic
poem, Lament aud Triumph OF Tasso," which
gained loud applause for lis intrinsic beauty
and neat Interpretation. This symphonic poem
lacks the depth and sublimtty OF the old great
masters, but shows Lists affiuent productive
ness, bis power Of harmonic mUdulaIions which
seems inexhaustible. and rich variety ofrhyIhm
which lmparts 10 the composition a marked in
tensiy OF life; the brilliant orchestratlon demon
strates again LISTS vivid Imagination.
ANOTHER NUMBER
Which cannot be passed III silence was the one
dedicated to the TWO pieces by the eminent
American composer, Frederick Grant Gleason
now musical critic Of the New York Tribune
The ftst was the Introduction TO his opera '+Otho
VtseontP' and the second the Priests March, y
from his other opera, "MOutezuma." The sec
Ond is a more melOdOus piece than the first but
Its melody lacks novelty and the first Is more
original IN It's abstruseness. MIR. Gleason has
made his studies in Leipsic and Berlin and
lie belongs 10 the ultra WagueTian school,
Certainly the two fragments We have heard
show command OF his art, but we cauuot admire
accord with the nltra-eXaggerated Wagnerlan
Ideas. The true and healthy mission OF music
for a composer should be that which peases
without fatiguing the mind OF the listener while
maintaining an elevated character.
THE TWO VOCAL NUMBERS
By Nine. Emilia Toiett were also of great i'm
DOrtance. they consisted OF the grand scena and
aria, "Ah PerhdO," by Beethoven, and the ro-
manZa, "Che faro senZa Eurydce," from
Orfeo. by GuclS Both pieces brought the lady
weli-deserved applause. She sang All Perfdo'
In such an imposmg style as 10 remind one
strongly OF Nine. FurSch- Madi IN the same
piece few years ago with Thomas orchestra
The sweet rOmanza by Gluck also showed 10 ad-
vantage Nine. TOjettrs voice As we
expected, Mr. Louis Heine's solo on the Cello
fantasia by Seryals, was one OF The best features
OF the evening. His technc, phrasing aud no
Diltty OF tone IeneHed In the audience The
favorable impression which he never fails to
produce every time he presents himself to the
lie responded with an encore no less appreciated
by the audience.