The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1894-03-10
ADJUSTMENTS.

John Philip Sousa and his band made a
favorable impression when they were here
the first time, and the audience last night
testified to the fact. There were many va
cant seats in the rear of Tomlinson Hall,
but taken altogether and considering the
attraction of the college, )ratorical con-
test, there was a large audience. The pro-
gramme was heightened from nine 10 six
teen numbers. owing not only TO the re-
sponses to the selections given, but to the
favor with which the responses themselves
were received. If there is one fault to find
with Mr.. SOusa IL is that he is too ready
to respond to applause. Five of the COM
positions presented were his own. The
Washington Post and the High School
Cadets have become the familiar airs of
everyone who can whistle or sing, and of
many who can do neither. Mr.. Sousa has
been named the march king" His new
march, Liberty Bell" is fetching, but it
seems to lack the spontaneity of the other
two. 1t was we'll received. The Chariot
Race" also Mr.. Sousas, was played, and
on the bills it said "by general request"
People like to hear it, in this Sta-e Iartic-
ularly, as it is an adaptation Of the de-
scription of the chariot race from Ben
Hur." It's points have been discussed in
the Journal before.
The opening number, Overture Qs19,
by Tschaikowsky is new. 1t poss asses
much dramatic power. and in keeping with
50 many selections given by this band, it
Is descriptive. There are some nervc-wear-
ing repetitions that evidently have some
peculiar significance, but the final lombard
ment was not to DE mistaken; the cannon
represented. The two numbers that took"
were the Scenes at a Masquerade" There
were four parts, and each one had an end
First came the grand march of the mask
erS, then the PonchiGllo family, followed by
Columbine's filtration. II anyone wondered
how such a subject was to be Illustrated
musically all doubts that 1t could be so IL
Illustrated were at rest after the first few
phrases. 1t was as cleverly composed as
not for the ears. The final movement is
the revelry of the maskers. This number
Musical Critics Dream" The story is that
q critic who is a stickler for the severely
classic dreams that he is with Bach, Men
delssohn, Chopin, Beethoven, Rossini, Schu-
bert and Wagner, and they tell him that a
noble setting Will make q noble composition
of the commOnest piece. A hand-organ tune
is selected, and each one in turn sits down
at the organ and plays the simple melody
which happens to be Annie ROoney'-in
his own style The air Is very ingeniously
woven into the form of compost lion peculiar
to the composer-thus, q. Chopin nocturne.
q Beethoven sonata or ''Fannhauser." Each
was readily recognized. The audience testi-
fed to its appreciation after every number
except the "Slumber Song" by Hauser,
and Its beauty was evidently so great that
ii was spellbound till IL was too late to APP
plaud. Miss Inez Mecusker, soprano. sang
"I Wonder" by Sousa- The composition
has merit. but the accompaniment is too
piercing. Miss Mecu5ker was recalled and
sang a version Of Where Are You Going,
My Pretty Maid?' Mr.. Sousa's grace as
a conductor adds net little to the. pleas
ure OF the concert, especially in the
marches, where he puts on touches that
compel inspiration and enthusiasm. He is
unique as band director.