The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1896-05-27

self with glory In her singing of the solos
Of the. cartata and was accorded her need
OF praise after the usual fashion. The finale
was a grand triumphan. combination OF
voices and orchestra and made fitting
close for the evenings performance.
THE EVENT OF THE FESTIVAL.
Il Was the Appearance mt the Matinee
OF Composer MacDove1l.
The audience at the matinee was largely
composed OF ladies'. The members OF the
chorus filled the front seats and a party Of
fifteen from the Institution for the Blind
nlled two rows. an interested group Of listen
ers. The opening number wes the overture
TO The Magic Flute which is said to be
. composition OF peculiar interest to those
who belong to the order OF Masons. The
adaeio with which the overture begins has
three fortissimo chords for the whole orches-
ira, which Is supposed to have some hid
den mysterious Masonic significance. This
movement, however is short and Is followed
BY q brilliant fugue. the several groups Of
instruments following the development OF the
fugue through most OF the overture.S which
Is suddenly broken by the chords of the Ma
sonic significance.
Mr.. Berthold, who was heard here In the
winter with the Damrosch opera. was seen
out OF character part and was heard in a
concert number. Mr.. Berthold has the rotund
face and figure which are so frequently the
physique Of the successful, opera and concert
singer. He has handsome face and smile
that was evidently taking with the upturned
faces Of the ladies who sat before him. His
number was "Gernsalemme," by Verdi.
which he sang with all the dramatic fervor
OF which he Is possessed. He was in full
sympathy with the text and showed how he
was reserving his desire to throw some ac-
ton into what his lips were speaking. His
voice belongs to the distinctly dramatic Ger
man school, 1t has wonderfully sweet tones
and this quality remains through almost its
entire range. He gives all he has. however,
and there Is not that restful feeling which
indicates that he has reserve power. One of
the noticeably brilliant effects was the cres-
cendo at the close OF the song. on single
Tone which seemed a contradiction TO all
that preceded 1t In power. 1t swelled and
rolled out, filing the hall to its remotest
part with an exauistely melodious and liquid
quality. He was recalled and came rushing
lmpetuously up the steps to the platform,
bowling even as he came and bending low be-
fore the people in acknowledgement. For a
response he sang an air from "Rigoletto,"
20 plano accompaniment.
Mrs. Bloodgood was given hearty recep-
ton by the audience and proved her worth
as a festival singer with her rendition OF the
famous 20 Don Fatale," from Don Carlos .
Her voice Is one of those contraltos which is
richest in its low tones The selection was
admirably suited to her range of voice. In a
coucerted number Mrs. Bloodgoods voice
would take the part accorded a violin cello
IN string quartet. All OF her education has
been gained In this country, and she is OH,
OF the best-liked contraitos for concert and
festival work in the East. She has been a
festival singer for several years and has a
reputation for most admirable and conscien-
tious work. In response to the vociferous
recall she sang an arrangement of .Thou'rt
The second number by the orchestra was a
Butte Ancien, by NieuXtemps, two move
ments- The first was an old-fashioned air
tive feeling. due TO the old master and the
old style or composition. The gavotte was
extremely well done 1t was taken at tenn
the name Of the suite. The modern gavotte
may be hurried through allegro. but the Old
slow movement and TO hurry ii lessons its
dignity and meaning. The modern inter
prefer OF composition. such as Mr. Mo,len-
hauer Is, follows the lead Of the new sohool
OF masters. Taken as a whole IL was PLAYED
with a rhythmic nicely as to shading that
accorded well with its style. OF the o-ches-
y
thing so far on the festival programmes.
The final number was the Midsummer
Nights Dream in three movements of
nocturne, scherzo and wedding march
There were many prospective brides in the
audience who would have liked to have had
the entire suite for the events to come. The
number = one with which the public is so
thoroughly familiar that q review of II
would be superfluous.
Mr. Bsr srsd Vas bard second time in
Again be was recalled and sang ..Die Post, .
5y scnp Hs which had gEeat deal about
man, In which language ne seemed more al
home tsan in the English, in which ne sung
the firsf encore number.
THE MCDOWELL CONCERTO.
When Mr.. A. L. MacDowell came on the
platform IL was in a three-fod character.
The audience was ready 10 receive him first
what might be called 'patrioticslly." He is
an American from crown 10 toe: then as a
great composer. whether OF this or any other
continent, and third. fcr his position among
the interpreters of musical works Mr.. Mac
Dowell does not claim to be piano vir.
tuoso. but the magnificent technical display
which IT requires TO play his concerto made
the audience OF yesterday ready TO believe
that he Is entirely too modest in this re-
gard. Mr.. MacDowell had evidently not an.
tIcipated such a reception as he received. FOR
~ was communicating OF shouts, hsnd-clap-
k-*- 1tit tLu-4cltt tdppiuSc. hiS 1a0<
flushed and he kept IL turned toward tbs
orchestra or down 10 the keys OF the plano
The concerto Is In three movements. There
Is dull and gloomy effect given by the
wood winds. which is taken by the vfoiins
and continues for thirty or more measures
and which forms Introduction 10 the
plano part This introduces the openfnc
ch0rds Of the composition. which outlines tbs
general character. OF the work. in a minor
key This main theme IS carried through L
a dramatic climax and the three theme
which form the whole follow each Other
each enc worked out more deliberately unit
the last ends In a perfect Kaleidoscope OF
ofnamentation. with prodigious fechnlca
work In chords and octaves. The secon1
part Is scherzo and Is a diadem OF giis-
tening, sclntlllatlng piano effects. The play.
er's fingers fairly flew over the keys with 3
delscacy and a brilliancy that made ths
breath stop in wonder and admiration. Thu
part h full not only OF this technical work
but at the same time II has a wonderful ans
subtle beauty IN its harmonies and its mel
ody. The third movement rounds cut the
whole 70 a perfect unity. TIE first theme Il
again introduced with still further varlef,
Of setting and IL grows with eoasummat'
skill 20 climax that results IN a fever O
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