The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1895-05-14
sCHUBERT's BEAUTIFUL SYMPHONY.
In II the Orchestra Did Its hest
.Prrpetual Motion" in NiOIins.

sPerpetuaI Notion in NiOlins.
After the chorus and orchestra had as
sembled in the hall and quiet reigned in
the audience, the opening number of the
festival was given. Standing in the center
of the platform was Mr.. Emil Nollenhauer.
leader of the Boston Festival Orchestra.
The men were arranged on either side with
the strings at the left and the brasses at
the right Mr. Mollenhauer is one of the
quiet directors. He has command ever the
men and instruments which requires no
great effort of muscle from his arms or
body There is nothing suggesting the
jumping Jack" The overture from "Eg-
mont received broad Interpretation from
the orchestra This Overture in + minor
was written by Beethoven for Goethes
tragedy of the same name. Beethoven never
wrote but one opera himself, "Fidelio.'
The overture to Egmont shows his mas
terry of form Form of which he was the
originator and which he so closely fol-
lowed that he was able to compose long
after he was unable to hear a note of music
The Egmont overture has breadth rich
ness. passion. IL is one of the favorite
numbers for all orchestras. and is known
familarly to all patrons of music. At the
hands of the orchestra there was an able
expression also If there is Il minor criti-
cism TO make il is in the fact that the
bowling lacks unison. slightly affected
style among two or three. a throwing of
the arm, broke the symmetry of the whole.
The first number in the second part of
fhe pbony N minor by schuberf PLAYED
by the orchestra, which was conducted by
Mr.. Arens. This Is one of the most beauti-
full and the greatest favorite of any of the
symphonies. 1t is pastoral in its conception
and the theme is one which appeals To the
highest musical nature as we'll to the
simple lover OF the art The theme is taken
first by one set of instruments. the violns,
then il is repeated here and there as if a
shepherd boy might be playing i'm the
mountains, and the echoes from the hills
and from the caverns repeat his air, some
times loud. then again faint and clear. The
symphony is grand and mastery in its ar
rangement.. The strings. the horns. and in
fact the whole orchestra, gave its best play
ing of the evening TO this number. AT the
end of the first movement allegro moder-
ato," there was a spontaneous applause
and Mr. ArenS bowed as he pointed TO the
members of the orchestra, giving them the
credit in his action. Again at the end of the
second and last part, the rarely beautiful
..Andante con moto. there was applause
and the leader of the vioins stepped up to
Mr. Arens, and taking him by the hand
placed the honor with him.
The 'Moto Perpetuo, by Paganini, played
by all the first violins. was a gem. Paga-
Mini as every one knows. was master of
the violin. and he invented some of the
most difficult movements for the instrument
Staccato. pizzicato and other movements.
which require extraordinary dexterity
were introduced by him. His compositions
partake of some of these difficulties, and the
.'Moto Perpetuo'' is one AS its name signi-
fies. ii is perpetual motion. Never ceasing.
with ever increasing speed, the
Wilgi Whirwind. s" dashing they 60 IN on "a
and on. and on till the hearer is lost i'm the
rapidty of the movement. The number is
quite unlike any yet given at any of the
festivals and was enthusiastically received
Most of the men in the orchestra are
young. They present a pleasing personnel.
violns-Edward Heindl, Theodore Human.
Houghton. W j. Crowley. F. l.. Mahn.
Rudolf Risslane. Henry Berger. Second
F.Ehi EfchIer. julius Eichler. 3. ]. HoImSerg SS
c. G. Miller. F. w. Ordway, Carl Haus-
mann violas-Jacques Benavente Frank
Ludwig ,aiS, coreili. Alex. Heindl. Leon Van
Vliet Ernst Mahr. Basses-R. F. Davis. II.
f; Couch: r. Ierenz. r. j. Butler; Flutes
horn-E Trepte. Clarinets-E. Strasser, q.
Kroeder. Bernie Holmberg. Bassoons-
Fedor Bernhardl. Christian Dietsch French
horns-Adolf Bel Bel .Sn,a William Rlttmeyer
Benjamin Bowron. VIM. I. Herrick. J. Eich-
Ter. Trombones-D. Fl. Moore. Carl Behr.
Geo W Stewart: Tuba rubaaotto Lorenz.
tombourine triangle-E. f. Parker. Tym-
pani-Harry Bower.
MR.. SHERwOOD'S SOLO.
AS the short familiar form OF Mr.. Will
liam II. Sherwood appeared on the platform
he was greeted with applause, which he
acknowledged with the professional bow at
the side of his chosen instrument. The
Concerto. A minor Op l6 by Grieg. which