Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-05-15
DOIJBLY A SUCCESS.
Two Excellent Concerts Enjoyed by
Large Audiences Yesterday.
THIRD DAY OF THE NAY FESTIVAL.
A Popular Matinee Programme and Good
Evening Selections.
THE WAGNER BILL OF FARE FOR TO-DAY

consideration, as the more important. There
was another splendid audience present,
numbering very nearly 5000 persons and
vieing in brilliant appearance and in warmth
of appreciation with its predecessors of
either evening. All arrangements worked
smoothly, the temperature was comfortable,
and the evenings enjoyment was marred by
chairs are not an incident, but constant
counter-irritant admirably designed to pre-
vent the music from causing listeners to lose
their heads and forget themselves in its
mellifuous measures.
The noble and picturesque "Euryanthe''
overture introduced the programme in first
rate fashion. Mr.. Seidl's marked sympathy
with the modern romantic school, with
which this work must be classed as one of
the earlier specimens, guaranteed before
hand the warmth and intelligence for which
its Interpretation was distinguished. Bee
thoven's immortal C-minor symphony
which followed, is in spite of its
intense emotionality, characterized by
a purity of form, an heroic type
of subject matter and dignity of treatment
that contribute to make it a genuine classic
of the first rank.
Evidence of Improved Opportunities
Mr.. Seidl's reading of this masterpiece, as
compared with his Interpretation of the
NINTH Symphony two years ago, gave evi-
dence that he has improved the opportani-
ties since then increasingly afforded to him
in the concert room to study and to bring
himself more closely in touch with the classi-
cal traditions. The result is a most happy
combination of modern fire with the repose-
full self-mastery of the older period. The
Symphony was consequently interpreted
Il z1s T1,a1-n
were some few technical blemishes of a
minor order-plaoes where the relatively few
strings could not make their figures heard;
scramble, rather than the 'gambof' of
which Berlioz speaks, on the part of the
elephantine contra-basses in those terrific
spots; the playing was mostly as clear as the
conception, which is saying much. One par
ticularly delightful nuance was in the
lovely a'adante where the brasses at the end
of their delivery of the subject were
string passages that follow. The whole
rendition of the Symphony was on plane
far above that attained by Mr.. Damrosch
with the, same orchestra, somewhat
ansnfss s4s s at week. the rSs New rsS SSPf aHs aad
picturesque eatr'acte from Wagner's "Goet-
terdaemmerung,n known as SiegfrieTs
"Rhine Journey" was the other orchestral
number; here conductor and players were in
their native element, SO that the varied
beauties of the fragment were brought out
with vividness that could scarcely be sur
passed.
How the Chorus Redeemed Itself.
The chorus quite redeemed itself last
night. First, in the fluent and grateful
chorus from Gade's. lyric cantata, "The Mes
sage Of Spring." there was a body of Tone
spirit and flush in the singing that quite
day evening and very far surpassed
all that was done last night. Though the
mems voices we're always overbalanced and
at times ragged or not in perfect tune, the
women atoned in large measure, and the re-
suit was substantially enjoyable perform
ance-under Mr.. Retter's baton-of Gade's
flowing measures. In "The Diver" Max
the best results thus far heard from it. The
singers seem to be getting accustomed to
the leading of Mr.. Seidl, who conducted, and
to their situation in big hall with the re-
feet. There res we're many ' effective
points; the shading was especially good (but
why that loud swell on the words "dread
silence" marked piano?) and there were
for many lesser defects. More could not be
expected from this particular chorus, cir
as it is, but 1t must, neverthe-
less, be frankly declared that it would re-
1uire considerably better chorus to be upon
2 level with the other departments OF the
Festival forces.
Interesting and Effective Work.
Mr.. Vogrich's work is interesting in the
extreme and in most places undeniably
effective. A certain fragmentary, disjointed
attaches to the cantata as whole,
due clearly to the difficult form of
Schiller's famous poem, which was not
meant to serve as musical text Aside
from the lack of lyric numbers and sus-
tained musical flights thus caused, the work
,an be heartily praised. 1t is exceedingly
dramatic in many places, the voices and,
more notably, the orchestra being handled
with telling power and keen sense of eff |
feet. Space fails for particularization,
but the descriptive and dramatic forceNof |
tells of what he saw under the water should
De mentioned. 1t was excellently sung by
Mr.. Harry B. Brockett, as also were the mar
rative portions by Mrs. Walter G. Wyman |
md, in a lesser degree, the Rirg's words by |
Clemente Bologna.
Mrs. Wyman's remarkably rich mezzo-so-
Drano and true poetic feeling were still bet
;er shown in Delibe's arioso. "Thou Great,
Mighty Sea-" Mr.. Bologna, also, made bet
jer use of his opportunity in a song, "La Wis
one, p by Logheder, which his smooth, agree
tble baritone and passionate delivery made
avorite, though hackneyed, selections from
;he tenor repertoire: the cavatina from
Faust" and the "Huguenots" romance. The
jormer was carelessly slurred over, appar-
J, which he delivered with
'ull chest tone that brought down the house.
The latter piece was much more finished |
performance. Mr. Guile has remarkable
7oice, of the rare tenor timbre and of large |
compass. He evidently has musical intelli- |
renee and good schooling, so that he can
ing, when he tries, in an eminently artistic
Popular Music in the Afternoon.
Few words must suffice for the afternoon
concert, which was attended by an audience |
q Nor o1,a
nents really necessary. The programme |
vas distinctly popular in character, most of |
he numbers being well-known, and the per- |
ormers have nearly all received attention |
Llready. |
The,orchestra was heard alone in Berlioz's |
,ompous, but digni1ed, march from |
Les Troyens;' the very dainty and |
aptivating menuetto from Bizet's sec
md 'I'Arlesiennen suite; the POLITICALLY |
Fairy scenesb lin which MI. Reiters sis horn
,laying was luminous point), and in four
movements of the gorgeously scored and |
ssnet's % "he cay Ali these we're ' easy " work work.
or that sterling body of instrumentalists,
nd Mr. Seidps careful, jealous guidance |
ecured fine results in. each case.
Grieg's strong, sombre work, "At the |
Holster Gate" for women soloists and |
horus, was made still more depressing by |
he slow tempo maintained by Mr.. Retter
rom 0egng go 70 e1d tbougb e tSe oWeS sang Jus
we're inaudibie and the devotional spirit was |
Missing. Miss De We're and Mrs. Linde did |
IL they could under the circumstances
Mr.. Joseph H. Cuttings played two move
nents of Mendelssohns minor pianoforte
oncerto in q Technically faultless manner |
ut without the spirit and feeling he might
" heart instead of being tied to the copy in /
ront of him. Mrs. Linde had her |
est chance in the 'tLe Cid" aria,
Pleurez, mes yeux;" her noble contralto has |
IT, ;on a1,,.o
Ass and she has made q great advance in
Method and in emotional Intensity. Pitts