Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-05-13

Napoleon, Dictator of the Republic, who dis
liked Citizen Cherubini and one day said t(
| him that his music was too noisy; whereupor
the composer rejoined, 81 suppose, Citizen
that y0m en9y only fnat
ruption over the affairs of state"
The beautiful romance for tenor from
Weber's greatest opera, "Euryanthe," sung
by Mr.. Andreas Dippel, follows. This is Q
composer, who stands between Gluck and
Wagner, forming the trio to whom the
restoration of dramatic truthfulness upon
the operate stage is chiefly due. The
love-song which no one can fail to enjoy
quite without reference to the historical
position of the opera or its composer.
Well Worthy a Notable Debut.
Mrs. Antonia Mielke, the eminent dramatic
soprano, will make her Pittsburg debut with
no less worthy selection than the truly
great scene and aria, "Abscheulicher," from
"Fidelio," the only opera written by that
greatest of all instrumental composers, Lud,
wig Won Beethoven t1770ls27) The scene oc-
being sung by FSdelfo just after overhearing
her imprisoned husbands life being plotted
away by the miscreant, PizaTo, who had
already wrought them such woe and who
now had reason to apprehend the retribu-
tion that swiftly followed as if in answer to
the devoted wife's prayer of hope.
Next comes Franz Schubert's (l797-1S2S) ex-
ceedingly beautiful-one might say, lovable
Symphony in B minor, of which he only
completed the first two movements, laying
it aside after beginning the Scherzo, forgot
ten by himself and unknown to the world
until its publication in 1867. Since then this
noble fragment, by the greatest of song
writer's and one of the foremost symptom
lists, has enjoyed phenomenal popularity;
it may be found repeatedly on good
has been heard in Pittsburg more fire.
quently than any, other of the
very few symphonies that have been heard
here at all 1t stands quite apart from other
compositions in its distinctive charm; no
work could be named that more beautifully
and richly expresses the innerInOst tender
feelings of the human soul. The non-pro-
fessional listener will want no analysis of
the form and themes of this divine work,
nor will he need any such aid to take its
touching strains down into his own heart.
Night in a Gypsy Camp.
Schumann's ''Gypsy Life, which then fol-
lows, is bright, truthful picture of night
in Gypsy camp, presentedby the Festival
chorus, with the orchestra. Though it is
short work, the characteristics of the
Romany race thrill through every meas
ure. 1t has been several times heard
here here The two beautiful
sung by Mr.. Theodor Reichmann,
the world-famous Vienna barytone, do not
need chart; they are lovely lyrics IND, es-
concert room. Both are assigned to the
minstrel-knighS Wolfram, whose pure and
noble character is contr >3ted throughout
the opera with the misguided passion of
Id1l1aldeUSe1, the hero.
The symphonic poem, 'tMazeppa," by
Franz Liszt-the greatest of pianists and
brilliant, if not origina: or sincere, composer
gives in rich, glowing orchestral colors the
n tbrpa-laUfS n
the wild Tartac steed with the youth bound
naked to its back. LisZt has followed
Goethe's poetic description of the incidents,
which are better known to English readers
music may not touch the fount of
feeling in many breasts, but its
gorgeous Instrumentation and start
ling effects are quite sure to excite the
senses and arouse wonder. The great duo
from Wagner's "Flying Dutchman," to be
sung by Mrs. Mielke and Mr. Reichmann, oc-
ours in the opera (as many will remember
from last winters performance) at the point
where The D1uchnaon, that Wandering jew
of the sea, first meets Sentd, the devoted
Norwegian maiden, who proves to be the
through whose self-sacrif1cing love he is
finally redeemed from the curse. 1t is a
thoroughly dramatic scene and quite charac-
terlstIc OF that early period IN Wagners
career when the reforms were beginning to
crop out but without wholly abandoning the
earlier operatic methods.
Fitting Close for the Evening.
The evening ends with the first two parts
of Saint-Saens' Biblical cantata, "The
Deluge,' in which Mrs. Rosa Linde, Mr..
Dippel, and Mr.. Clemente Bologna, with
the chorus, will sing, while the orchestra
will contribute more than its usual share
toward depicting tbe terrors of the great
Flood. This very interesting and dramatic
work by the most learned and original of
living French composers was given in its
entirety at the May Festival of 1889. 1t was
of which performance the
Monde Musicale says:
The text of the first part is analyzed follows in
the programme: Corruption of Mankind-The
Anger of God--Alliance With Noah. Here as we
the human corruption provokes the divine anger,
and the majestic mas tic, voice OF God makes
cbdrds S n e Snan nS was
grand effect, and the voice of NJ. Agourney told |
The alliance with Noah brings withsit
calmer tone in the midst of which those who were
% be spared enter the ark, and after this the
Deuge itself.
To paint in music this great scene of the Flood.
nature to represent the voice of all the elements
n disorder, is very difficult. NJ. Camille Saint
Saens succeeded goriously, his music is the |
llustrious composer knew how to display all the |
fariety and power musical instruments can give |
orth; always master of their strength he conducts
lis forces to victory, exciting among the audience
hrilling emotions.
In the part where the cataclysm attains its great
st intensity the full power of the orchestra domi-
lates gradually; leaves predominates aud quite |
lwarfs human anger, which grows more and more |
aint. This has a considerable effect, The third /
,art brings us to quieter sphere, mankind takes |
light tones of the orchestra indicate that the Gre
Itor has pardoned mankind and that human work |
will once more begin its work through centuries.