The morning times., 1896-03-23
DID JOHN PHILIP HONOR
SOusa and His Band Welcomed
at The Lafayette.
GAVE HIS NEW SUITE
Three Quotations" Panorama of
Tone That Shows the Earmarks of
His Melody-Encore After Encore
Made Him Repeat the Tunes That
Washington Loves.

IT was Sousa night, first and last, at the
! Lafayette Square opera House last evening
| Not only was the popular bandmaster given
! an enthusiastic reception, which is a fore
gone conclusion whenever he and his band
| appear, but the program was made up en-
treiy of compositions by him, covering
period OF the past sixteen years.
1t was an interesting eXemplnication Of
| tie style, temperament and transitions of
his career as composer, aside from the
delight in merely sitting within the rauius OF
| his splendid music.
Every inch of space was crowded on each
OF Tue 1nree floors. / was q testimonial 20
| man who has place in the hearts OF the
| people, and especially i'll the hearts of
Washington people, who regard the great
musical prilgrim as their own.
In reality nearly four complete concerts
were played, for most Of the numbers We're
encorcd three times, and all would have been
had not generous consideration for the en-
durance of the musicians moderated a
demonstration. which was not lacking in
stimuant. After his new suite, Three
Quotations., a huge basket of narcissus
blossoms were passed across the footIights.
The first number was the overture
Katharine" written so early as 1880.
| 1t is an interesting work for the AXE of
u
| but it shows an experimental temperament
| and somewhat UndevelOpcd technique in
| Orchestration at the side OF the brilliant and
| deft compositions OF the past few years
! IL was agreea bic in theme, however. and
suggestive OF its composer, and the audience
| for the sake OF both at its finish began a
! fussiladc of applause
AutiIur Pryor stepped forward and play
| ed his own Kansas QuicSstep,' which con-
tans IL trombone run and cadenza. which
| is said TO be beyond any other performer
| in the world than MIR. Pryor. The Director
| ate" was played for a second encore. and
a bright littlc dance for third.
The second number was the Last Days
| or Pompei.' descriptive suite, beginning
| with an original trcdtmcnt OF the figure and
| a iyertisSemcnt repre- Senting an orgie in
the house OF Burbo and Stratonice. A
! placid andantc typified the Bind girl, Nytia,
| and the thrd part wasa strong tOnai picture
| OF the eruption OF VcsuviuS. and the death
OF Nydia Three more eucOres, a gallop, u
| twostcp, and a humoresque followed by way
/ OF cnCOres.
Then followed the novelty Of the program.
| Nearly every visit. and at least every
season, Sousa brings new composition.
This interesting little suite he calls Three
| Quotations"
SoUsA's NEW SUITE.
nursery legend. The King OF France with
10000 men marched up the hill and then
marched down again" The ascent and
decent were xpressed in the patrol shading.
The marital measures were full OF coloring,
produced by the trombones. reeds, cymbals,
and triangle. supplying a certain grOtesque
dignity implied in The couplet.
The second part, And /. Too, Was ROTT
including pastoral touches and atmospher.
by obOeS, ClarionetS, flutes. bassounS, anC
SaNophoneS, through several Scqucntial
arias of great beauty. In Darkest Ar
riCa, :, third Of the quotations. was a fine
contrast to the others, with its swift move
ment imparting throughout the darky
tempera ment. Sand blocks and tap trick
introduced the pickannny dances. The
whole suite is in Sousa'S best style, anC
was played better than anything else OIL
the program.
The historical scenes of "Shcridan'l
Ride" one OF the most graphic OF SOuSa
tone panoramaS. is fgmiiar TO most O
his admirers. -Four solo cnCores fol
| lowed. Pryor'S trombone solo. - Onl.
One Girl in the World for Me-" n saXo.
phone solo. Il solo by the double bass, eX
eCuted with rema rkablC smoothneSs ant
| finish, which was Cheered and finally
song for ScXtette of brasScS, which wa
one of the most beautiful numbers OF tn
evening.
ENCORED REPEATEDLY.
Other pieces of the fun band were
doubly and trebIy encored. Sousa ha,
put more spirit into his martial pieces
the familiar two-Steps, than charac
terized their performance last night bu
never have his musicians given temper
mental music with such charm ana truth
full fidelity 10 tone volume and shading
The descriptive suite were played as only
Sousa could. ana ;ha work suggest et
~ dciicaCy strength. finish feeling, and
technique the symphony orcheStraS.
No other band could play the Lyric
passages as SouSas 5 did last night. Til,
SouSa program is a convincing demon
Stration Of J Ohm Philip Sousa'S versatility
! as a composer, is well as his sUprcntacy
! as director
Miss Carrie Duke, violniSte, and Mis-!
| Myrta French soprano, were each re-
| ceIVed as friends and fayOriteS. They
! are both superior artistcS. Miss Duke!
| encore piece was a skctChy little revcrit
with Il vivaciouS second movement. full o
sentiment and fine technical Opportunity V
| SOuSa and his band return in MAY fo
|