The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1894-05-16

the evening. fairly outdld herself. Hers
was rather an ungrateful task. as there
was but the one beautiful solo. But the
Lord Is Mindful OF His own" in which
she could show her powers aside from her
good work IN the quartet from "Rigoletto."
which ended the programme. owing to the
cut OF the last orchestral numbers be-
cause OF the overlength Of the evenings
plan Mrs Poole-King's voice shows visi-
bic signs OF Improvement during the last
two years The beautiful quality OF her
organ Is now scarcely marred at all by
the decided break OF former days. She de-
servedly shares the contralto ~oratorio hon
ors IN America with Mrs. Carl Alves. Of
New York. The color OF her voice is rich
and attractive.
Mr.. Ben Davies. the English tenor, has
not been overrated by the laudations of his
countrymen. and during the past few weeks
OF our own. The breadth Of Mr.. Davies's
musical comprehension Is evinced by the
fact hat he has not allowed his operate
training and experience to infringe on his
true oratorio style with the exception OF the
use OF more portamento In his recitative
than is traditional. But Mr.. Davies COM
bines. to a degree. the power 10 move
either from a sentimental or religious
standpoint. never for a moment lowering
his standard TO that CT the mock-heroic, as
Is often the case with oratorio singers who
are endowed by nature only with a dra-
matte feeling for romance. Mr.. Davies has
that subtle faculty belonging to great or
ators and preachers. as well, Of taking his
audience Immediately into his confidence
making friends, as il were. His mezzo
voce singing is as perfect as Is possible to
a human being, his whispered prayer is
clean and heard with ease at great dis
tances. His feeling for his aria, BE Thou
Faithful Unto Death" was superb. and In
the "waft Her. Angels" one was impelled
TO hear angelic wings.
Both Mr.. Davies and Mr.. Heinrich are
tone painters, so to speak. The latter, the
celebrated American baritone although
German by BIRTH. presents a dramatic pic
ture with every phrase. His life's work
has been to make that picture ennobling.
hence his devotion to oratorio. The people
felt the fire and deep expression in Max
Heinrich's singing. as they always do when
ever or wherever he sings. His nature is
so thoroughly artistic and intense that no
matter what tones he might utter people
would feel whatever the music he reads
AS IL is, his tone goes hand in hand with
his feeling His cry, 20 God, have mercy"
was given as but few men can sing that
touching aria
Even the heralded praises OF the
European world had not prepared us for
Henri Marteau. the youthful French vio-
linist that he is. Though but twenty years
old, he has attained a marvellous virtuosity.
The mantle OF the great Leonard, his
master. has fallen upon a genius. Pag-
anini would admit that the youth is pos
sessed with "the holy fire" Marteau's
breadth of conception and maturity or
Interpretation show more musical age
than years of life. His use of the har-
monies which answer TO the soprano head
tones around high g Is marked with ease
and perfect intonation. If added years
continue TO develop his technique and
spirit of Interpretation. subduing some
what his superfiuouS nervous energy, IL
Is impossible TO predict the height 10 which
his genius may carry him.
Emil Mollenhauer has brought with him
from Boston an orchestra that Is we'll
trained and musicianly striking. This re-
fers as much TO the concerted efforts of
the fifty players as to their individual ex-
c~ellence. Throughout the first mart the or
chestra was under such dominating dis
cipline as to give the belief that il was
designed purely for oratorio accompani-
ment. Later il had an opportunity to dis
pei any such lurking suspicion. In the
MacDcwell selection, I'm q Haunted For
est" even more than In the Beethoven
overture, II burst forth as an orchestra
OF rare ability, one to compare favorably
with any Thomas's baton ever guided.