The courier. (Lincoln, Neb.) 1894-1903, 1896-03-07
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HRRBERr BATES

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There was not much new music at
last Sundays music gervice. Almost
every number has been heard before at
one or another Of the concerts. Not that
this was Objectionable, especially as all
the numbers could bear repetition. The
Allegro from Hayden, op. 76, No. il
very bright. with most excellent fooling
in pompous profundo by the cello. Hay
dn's originality is always optimistic. His
wit is brilliant, spontaneous, unexpec-
ted. 1t has not, indeed, the humor Of
Beethoven, but it is not liable like
Beethoven's brighter moods. to give
way to solemnity or even sorrow. OF the
two, Haydn is the less profound. His
quiet waters rise to no pillows. awe with
no immensely. They are merely for the
ripple to run over in it's mirth." And
for summer pastime, many prefer such
to profounder seas. Either Carl Schu.
berth is very original, or he was 80 for
tunate as to come upon most original
material. His work is decidedly out Of
the usual order. Not SO much as it would
once have been. Music in the key Of
"ski" has been growing upon us OF late.
A new composer is either Sclav or
sham. Accents, which used to march
drly in their proper place, now leap out
at US from any and every part OF the
measure, and our ears are get
ting reconciled to strident re-
joicings in diminished chords. Yet,
even in the general dynamophony Of
things Hungroise and Sclav and Polo
naise, and Paderewski and Tschaikow-
ski.-even in this eccentric company
Schuberth's work is striking. The
Bucharenlied and the Tartarengesang
were very different. Whether this
is due to the difference between Lied
and Gesang or to the difference be-
tween a Buchar and a Tartar, l will
not presume to say. At any rate, the
Bucharenlied rejoiced with about three
rejoicings to a measure, while the Tar
tarengesang was absolutely melancholy.
1t was touching. too, strangely lyric,
with poignant lpathos,-and all in
foreign musical idiom. the pstois of the
steppe. 1t was world away from
Haydn. In fact, Haydn's aristocratlc
periwig wonld never have been safe
among the makers of such music. They
pointed wit with spears. and ended their
song Of mourning with a gallop to ven
geance, their passions as rebellious to
the Law Of man as their song to the
laws Of music.
Frank Schubert's Moment Musicale
paced its dainty course. march Of fair
les, Hungarian fairies, vanishing, in fan
tastic professional, into some gnome-
land vista. Appropriately after it came
the Mari0nette overture, With brilliant
ly rhythmic passages that made one
feel like rising. like-no. the idea would
shock the Ministerial association.
Mrs. G. w. Noble was the vocal So
loist. She sang Gounod's Light from
Heaven" Her voice is sweet, excellent
in material, though by no means
trained to perfect flexibility. She sings
with good phrasing and expression. The
accompaniment by the quartet seemed
little uneven and not always in perfect
understanding with the singer. The song
lie OF great possibilities, many Of them
realized. This is not, think. the fret
time that it has been sung at these ser
vices.
Mr.. Charles Hagenow played the
Adagio from David's Fourth Concerto.