The courier. (Lincoln, Neb.) 1894-1903, 1895-12-28

The Universalist musical service re-
peated two numbers from the charity
concert. The first of these, Alard's
Symphony Concertante for two violins
seemed played with more spirit than at
the former rendering. Perhaps this was
partly owing to the fact that this time
IL was heard under circumstances more
favorable. not at the end of dreary
program of all manner OF music. The
composition seemed to lack strcng sub
stance. II Is striking. however. and
rises to smuch emotional power. a little
tinged, however. by sentimental effas-
iveness. The other number from the
charity concert. the duet between Mr..
LAWYER and Miss Finnigan, was not
SO good. The song was rather pretty,
somewhat after the old school. with
some charming passages. But the sing
ing rather lacked. Mr.. Lawler would
sing well in a chorus. His singing Is
even, unemphatic, unindividual For
this every reason IL is. in solo work,
very unexpressive and unsatisfying.
Miss Finnigan's voice, better in shading
and expression. sadly needs training. I
do not like to listen to a singer who
keeps me perpetually worrying for fear
that her voice may break" Miss Fin
nigan's best notes, when they are good
are very good Unfortunately. however,
the rest of the rhyme holds true. Miss
Finnigan should give a good deal of
work to the study of voice-production.
With her voice once thoroughly under
control. so that she-and her hearers
may have confidence in II, she should do
very well indeed But the public pre-
fers q fair voice that 1t surely fair, to
q voice that keeps them always nervous
ly expecting failure.
part in Reissinger's quintet. She was
somewhat hampered. of course, by the
upright piano. but her playing, partic-
ularly in the closing Tarantella, was
strong and expressive. Miss Hoover
has made several appearances of late:
at the Nebraska conservatory concert,
at the charity concert. and at this Sun
day recital. She promises to stand
among the very best of the local pian-
lists.
The strongest of the numbers for the
quartet was the Larghetto from Spohr.
the most satisfying number of the con-
cert. The Hayden Serenade and Boch-
erini's Minuet Celebre were much of a
kind. dainty and gracefully delicate.
Haydn's Serenade is not much like
Schubert's. 1t is not the passion of the
nineteenth century Heine-reading low
er. 1t is rather the very deliberate and
sweetly-refined sigh of the eighteenth
century gallant, his sentiment as pref
tily external as his Beau-Brummel at
tire. 1t is the very quintescence of
graceful love-making. 1t is not love
no lover is enough at ease for such de-
liberate prettinesses-but it is not
meant to be. 1t is just the pretty lit
tie game of our summer resorts. moon
light and meaningless whispering, to
be forgotten with the morning.
The Hallelujah chorus disappointed.
This was not Mr.. Hagenow's fault II
was inherent in the nature of the mu-
sic. 1t is music which depends largely
on mere bulk of sound. 1t has been
said that a small Gothic church is artis-
tically impossible. So with a small
Hallelujah chorus. 1t is intended for
a marshalling Of great masses of sound.
Reduce these. and the whole point is
lost. Take for instance the thread of
melody carried by those two violins.
r~r