Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1892-10-23

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The Mozart Club, the pre-eminence Of
which among local musical institutions none
can dispute, is getting we'll under way for
the present season-its fourteenth, is it not?
The programme for the first concert, No
vember IS, is now determined. Bach'a
cantata, "a Stronghold Sure" on Luther
great Reformation hymn, will be the chief
choral work. Miss Grace Miller, Miss
Edith Harris, Mr.. Jos A Vogel and Mr.
John A. Strouss will assume the solo
parts Faning's short chorus, "Day ybreak, -
will form part of the Introductory pro-
gramme. Miss Lois Belle Cory, of Grove
City College, will sing the ara from "Der
Freischuetz" The orchestra will number
forty-three men, and will be the largest and
the best that the club has yet been able to
evolve from local resources 1t will have
no small task in Cherubini's noble cana
creon" overture, which is 10 open the con-
give the orchestra test on delicacy and
clarity of execution.
This exceptionally strong programme
will set the keynote of seasons work
planned on the largest scale yet attempted
by the club Further details remain un-
settled, pending the arrival from Chicago
OF the music to be prepared for the World
Fair, some Of which the club desires to
use in its regular concerts also. It has
been decided that the Mozart Club will go
to Chicago to sing as part Of the "Western
Festival Chorus" and, probably, to make .
distinct appearance of its own with the
orchestra that Mr.. Thomas is to have ready
to give such aid. Nearly 200 of the singers
are expecting to go, and the whole party
will likely foot up at least twice that
number.
The Mozart Club plans this season for the
expenditure of $4,000, nearly one-third
more than for any previous season. Presi-
dent Robert Pitcairn and his energetic CO.
workers hope to make up this amount by
securing 500 regular associate members at
80 and 30 special patrons at 500 apiece
Two seats for each OF these $50 persons will
exhaust the capacity of Old City Hall The
inadequacy of this audience room furnishes
the reason why the club has to appeal to
the liberality of the ''patrons" to tide it
over the interval until the new Carnegie
Hall is built, without sbating the clubs
steady musical progress.
The outlook is suspicious as well for the
financial element as for the high artistic
standard of the seasons series of five con-
0aY frun nfx oh vr;1
the Boston Symphony Orchestra or some
like band Pittsburg's public spirited citi.
zens will surely respond to the modest
needs of the one organization that stands
for the highest and best in our musical life.
~
Comparison With Other Cities.
How modest the Mozart Clubs budget is,
in view of the quality and Importance of its
work, may be better estimated after reading
the following paragraph from the Boston
Mus cal Herald:
Eastern societies hardly realize the extent
Of the annual budget of the CHICAGO Apollo
Phio a. OTIS, it is snoSn tS that at the
income Of tho club was $37,S99 SO Gncluding
y, ,40l 81 on HANDY, that the expenses were S36..
969 07. Concert receipts last season were $29,-
270 Is; three items OF concert expenses, SOLO
lists. rent and orchestra amount ed to about
s20. 600. The salary of the conductor is 81, COO.
There Is no parallel for this in any Amer
lean city: The season Of 1928 win be q
very busy one. The wage workers concerts
are firmly fixed in the philanthropy of the
club. they are the outcome of the great
heartedness and intense love of humanity
n general, particularly men and women OF
humble station-of William L. Tomlins.
The Mozart Club means much more to
musical Pittsburg than the Apollo Club to
Chicago. And James P. McCollum has
ong been urging just such philanthropic
Efforts In this city of wage workers. The
money for such a cause ought not to be hard
% get.
The Ode for thse Dedication.
A full description of Mr. George W.
Jhadwick's Columbus Ode, produced at the
Worlds Fair dedication on Friday, has
ately been printed in these columns Prot
Tohn z. Paine has prepared the following
important work composed for that illus
rious OCCASION:
Tho Columbus March is in symphonic
orm, with two leading themes in strong
h hythmical contrast with each other; sub |
'rdfnate melodies are also employed. An
xtended Introduction prepares for the
eading theme. The work opens with a
anfare of trumpets, with full short chorus |
II the whole orchestra, followed by unison !
" all the wind instruments Ia monologue in |
form). Then comes the first hint |
II the ding theme, and gradual cres.
endo to # OF the whole orchestra; pedal |
,oint on the dominant and a long chord is |
leld. then after pause the theme enters.
The march is not made up of repeated |
DIVISIONS like the usual form with cadences |
nd pause but Is more continuous and con- |
ective, like the movement OF q symphony.
n the coda there is q remfnescence of the |
a ntroduction with the trumpet fanfare ana |
'edal point which forms the climax of the |
part ana leads, through q long |
rill of the soprano instruments sustained |
y the full harmony Of che orchestra, to the |
lynn which opens in unison of all the |
'oices d. The hymn is in 81 time, ,maestoso, |
nd stands in marked contrast to the ~ time |
f the march.
I will not describe tho hymn, as it is
he hymn is SO written that 1t may be /
'layed In connection with the march as an |
orchestral piece without the vocal chorus. |
The march Is in D major, but the tonality of |
,ey changes often. Many rhythmioal effects |
ppear scored for the following Instruments; |
piccolo, Q FL, Q OBJ, Eng-horn, 3 clarinets,
bassoons, horns. trumpets Tor more), |
ngle and cymbals. string quintet, organ. |
'he march and hymn are about Is minutes |
ong. j. h. PAINE.
Crotchets and Quavers.
You're Cyril Tyler, the boy soprano, has |
'een creating extraordinary enthusiasm in |
soston. Sober critics draw heavily on their |
hoicest vocabulary Of praise in describing |
is performances.
FRANCHErrI's opera, "Columbus," written |