Evening journal. [volume] (Wilmington, Del.) 1888-1932, 1892-01-22
THE CREATION IS OVER.
RENDITION OF HAYDN's oRAToRlo
BIT The TUESDAY CLUB

dItion.
The great musical event of the season
the Tuesday Clubs midwinter concert
Is over In the Grand Opera House last
evening before an audience of $50 per
sons, the club sang Hayden's oratorio
The Creation"
1t was great event, and should the
Tuesday Club survive and flourish foi
many years, this production of "The
Creation" will be long and pleasantly re.
membered Even before note was
heard the scene was especially striking.
Wilmington's -Four Hundred were there
and the full dress suits and handsome
toilettes Of those In the audience
ELECTED much comment. Then there was
the stage, beautifully decorated with
rare and superb potted plants, and with
elevated seats for the singers and a big
piano Of the grande model, which stood In
| tho centre. A special stage had been
built over the frst three rows Of orches.
ira chairs, and on this, beside the seats
for the instrumentalists, were four
places for the soloists The directors
stand was in the centre
The singers appeared on the stage
singly, ia pairs and In companies
and took their places leisurely. The
bassos sat on the extreme left and the
tenors on the extreme right All wore
evening dress suits. The contraltos sat
beside their ba brethren and the sopra
noa alon aside the tenor. Ia this assem-
blage Of Wilmipgton's cultured yocalias.
were dresses Of many brilliant
colors. Bouquets or punches of roses
also adorned the blossoms Of the fair
singers.
String, Reed and Brass.
AFTER the entire chorus Of 100 voices
had gathered upon the stage, the orches.
ira players appeared and took their
places. There we're twenty two Of them
twelve OF whom played stringed instru.
ments, eight manipulated the KEYS OF
wood wind instruments one PLAYED q
cornet and the remaining man PLAYED
French horn, mellow snd rich in tone.
The soloists than came In and, after
all were seated, Professor w. w
Gilchrist of Philadelphia, the director of
the Tuesday Club, with a smiling but
anxiouse expression, stepped upon the
conductors stand.
The Creation Begins.
Then, mid hush over the entire as
semblage, the baton arose, and, when it
fell, the orat rio began. The first reci
appreciation. But the FIRST chorus "And
the spi-it Of God moved upon the face OF
the waters And God said Let there
be light aud there was light" stirred
every listener With q tremendous
wave Of sound IL opens, with rushing i'm
petuositY 1t Closes swaying It's hearers
now almost to sorrow, now to an inter- |
slty Of excitement.
Those Who Sang the Solo Parts.
Dr. Carl Il. Martin Of New York, who |
has never been heard before by vii.
niington audience. was the bass soloist,
aud be was greeted with bursts of 40 |
plause, which be acknowledged by grace. |
full bows, both to the audience and to the /
chorus. Or Martin is handsome man or |
commanding appearance and he has a /
hne physique bis heir and pointed beard |
are Of jet black. His voice is equally |
richson low and high notes and he has |
wide compass.
The soprano soloist Of the evening
was Mrs. W. +. Smalley, Jr., whose
superb dramatic voice was admirably
displayed in
!, with yordure clad the aelds appear
Delightful 10 the rayishid sense,
BY flowers sweet and gay
Enhanced Is the charming sight.
Here fragrai herbs thar odours shed,
Here shoots the healing plant
With copious fruit the expanded boughs are
hung,
In leefy arches Irvine the shady groves,
yer lefty hills majestic forests wave"
This passage showed clearly the sing.
er's power in oratorio and recalled her
triumphs already achieved In that field
Many recalls were given the fair vocalist,
who, however, did not yield to the en-
thusiastic demand for eneores.
Leonard E. Auty of Philadelpnis. WHO'S
well knownito the music-loving people Of
Wilmington, was the tenor, and he sang
the parts Of Uriel with such distinct
and enchanting melody that
he pleased his hearers more than ever.
Miss Emma Lore. daughter OF Hon.
Charles 3. Lore, whose contralto solos n
The Messiah" won for her many laurels
appeared In the quartette, which precedes
the closing chorus,
Work OF tho Chorus.
Director Gilchrlst hit It exactly when
le stated that the rendition would sur
pass expectations The work OF the
ihorus merits little If any criticism. Tia
and intonation was perfect
md the ensemble good, although the
llegro passages might have been sung
more sprightly.
The singers would frequently begin
With the most delicate pianlssimo tone.
n an effective chorus Then the "schei 20
With charming playful passage, using
he strings partly in pizzlcato, partly ii
boEing, one throwing into
'elief the other by contrast Lightly
he instruments tossed the melodies from
me to the other, the orchestra ali the
While keeping down as II great mon
tier subdued, until at the last note.
he Instruments one and all, burst out ia
, crashing chord as IL to relieve them
selves Of the sound that has been surg
ng within them so long.
Finally comes the variations calling the
whole orchestra into play unsnbdned.
Here the subject drops ont ia a fugue
here appearing as ohorale with the
eloquent woodwind sustaining the tones
Ike grand organ All working together
ihese make brilliant the fnale. The
composer would revel In the material AZ
ais command IL be could be here and see | ,
What mighty force is the modern or.
'hestral Its tone-color Is as varied as the
lues Of the rainbow, but its combined
avs are as bright, its power as fierce ana
burning as the noontide. To each in
'trument, stringed, wood-wind or brass
5 given its own singular beauty ana
lower BY the strength OF genius that can
'all unity from variety.
Az the close of the concert the
audience applauded for several minutes.
hen there was q general bowiug and z
land-skaking, on the stage and of. and !
ne asse nblage began to disperse. The
'nlisdelphia and New York musicians
a -. L.