The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1895-05-14

a local. and consequently minor institu-
ton, and the artists from abroad on the
right hand. TO which all the honor comes.
1t has been laborious work to change this
order OF things and bring the chorus TO
its proper relation. but ii seems 10 have
been done. The audience readily found it
self in sympathy with the immense choir
In this very first number, the management
wisely having refrained from giving the
audience an overdose of chorus, the best
effects of which are attained as far as
the hearers are concerned, by quantities
gradually increased. ''Daybreak' is tone
picture. composition in which Eaton
Tanning has as closely allied music to
words as the two will permit. One re-
members the occasional tone pictures
tlxal days; storm, for instance. with the
mimicry of violins and the laundering OF
brass, something that the untutored ear
same had violinist told the romance of
backyard felines by initiating their
meows: What a different picture is that
chorus! The auditors intelligence was
held lightly when blasts from batteries OF
horns and the rolling of drums told him it
bows bespoke fierce winds. Fanning's mu-
sic shows you the dawn of the day, and
yet there are none of the natural sounds
the effect. Just before the dawn weird
feeling creeps over the. man out at that
hour. The orchestra bears evidence of
this A birth is a joyous event. but there
is always something indelinably sad pre-
cedfng ii. Longfellow felt this, and the
exquisite minor strain of his verses. TO
which the music has been set, is obtained
in the music itself. 1t takes great chorus
TO bring this out. Indianapolis has such a
chorus.
The thorough unison of voices, the rich
blending of the four qualities is much
to be noticed in the chorus this year as
the precision and accuracy of details. If
any criticism might be offered it would
be that the conductor does not get all there
is i'm his sopranos. 1t seems that the con-
eli nfA 10
scientious and painstaking. Yet ii is al
most captious TO speak of this.
bne The LULLABY of Life was the hos second
chestral accompaniment. the richness OF the
voices was more apparent: In II. too. are
duced by chorus. or even quartet. have
such hold the popular ear. All of
the depth to the work, and there is much
of il, is brought out by the chorus. First,
it might be a Titanic cradle song. but the
theme grows grander and nobler than this:
it is putting the world. the world OF liv,
ing and fretting. to sleep 1t is magniied
transpostion TO mankind of the song that
soothes the babe and lulls ii to sleep. The
quality of freshness was luminous In the
chorus voices in this number. AT The con-
clusion the restful voices of the bassos
dominate in the pianissimo. The conduc-
tors wand was ike one of magic in the
last half dozen bars. so responsive to it
was the chorus. The shading to the pianis-
smo was eXqustely and artistically done.
1t would be difficult TO chose the more
pleasing of these two choral numbers. al
though musician would probably find more
to admire in the coloring of "Daybreak.
One thing noticeable in the voices this
year is the Improvement in the tenors. The
occasional strdent voice. sounding so dis
agreeable from out the row of tenors, is
more, and the eye fails TO note bulging
veins on the necks Of these gentlemen in
an effort TO obtain all the sound possible
from their voices. Individual vocal training
has much to do with this happy result.
"The Creation" duet and chorus was fit
ting close to the evening, swelling OF
grand song 10 crown the successful night
Portions of Haydn's great work have been
frequently sung in this city and opportunity
was afforded of comparing the efforts of the
chorus in different years. Last night the
tonal ensemble seemed almost perfect and
there was not much regret that Mrs. Jen-
ME Patrick Walker was substituted Tor
MeIba in tho duet with Max Heinrlchs. The
exultng character of this concluding num-
ber its noble paen of praise, its triumphant
rroclaiming of the greatness Of the Lord
was interpreted magnificently by chorus
and soloists. When the last I'VE praise
Thee now and evermore" was sounded
ending so roundly and so harinohiously, the
thousands i'm the hall applauded and We're
loath TO leave.