The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1897-05-21
THE BEAUTIFUL CANTATA.
Nine. SapiO and other SOloists in
"Syyan and the SkyIark."

THE BEAUTIFUL CANIAIA.
Nine. sapiO and other SOIOists in
"swan and the. SkyIark."
The greatest interest of the evening CEN
tered in the cantata. 1.-The Swan and the
SkyIark'' by Arthur Goring Thomas. This
is the most important work of the chorus
during the festival, and it introduced the
group of soloists Nine. De Vere-Sapio, Miss
Sara Layton Walker, Mr.. Evan Williams
and Mr. Ffrangcon-Dayies No work OF
the festival has been more talked about
than this cantata. Those who had heard
scraps of it during the rehearsals were
filled with admiration. The members of
the chorus were enthusiastic about 1t from
the first, and their pleasure in it never
waned for an instant. OF all the melodlous
compositions, it is generally conceded that
none can surpass it. The first soft notes of
the orchestra which give a hint of the lead
ing theme demand attention, The introduc-
ton by the orchestra has significance all
it's own, which is POLITICALLY descriptive,
perfect counterpart in sound of the words
which have been chosen by the composer
for musical setting.
The first words were not introduced by
the chorus, but by the baritone, Mr.
Ffrangcon-Davies, who sang "A Grecian
poet I, but born too late" The lament is
that for him the nymphs and NEUROLOGICAL
characters are things Of the long ago. The
solo is full of beauty and the accompani-
ment one Of great charms The introduction
by the chorus is midst the Tall Reeds,
in which the voices all on one note, softly
illustrate the words. The attack was per-
feet and the gentle, enforced sound was an
artistic beginning for what was to follow.
The most of the solo work falls to the
tenor, Mr. Evan Williams, who sang the
part assigned to the swan, with much
sweetness. The chorus again filled out the
sentiment with a radeay st1Rneful part, 20,
IifA and Love, Farewell an introduction
to the next part, which is for the alto and
chorus. The rhythmic melody is sad and
sweet as it is a farewell of the dying swan
to all that it has lived among, and in the
words, Thus flowed the death chant on-all
the air was filled with that one signing
sound, Farewell" The. minor cadences ex-
pressed with wonderful feeling the fare
WE'LL" and the voices of the chorus as they
rose and fell in the long farewell were
great example of what the musicians art
can do with words. Within a brief few
lines the alto sang her farewell in ''Adieu,
adieu, the plaintive anthem fades" Miss
Walkers rich voice taking on the express
sion of sorrow. The finale to the first part,
which describes the farewell of the swan,
is one of the most fascinating in the whole
work. The orchestra plays a rocking ac-
compartment in octaves, with soothing
monotony, and then the several parts of
the chorus have a repetition of q tr1plet in
each measure that rolls with delicious reg
ularity. The first part closes with long
farewell, as if leath to depart.
In strong contrast to the swan part is
SkVlark. intro
duces it with a birdlixe motive, which is
echoed by the soprano, Nine. Sapio: Her
the style of composition which is sweet and
light. The music is best explained in the
lines of the work, High, in the heavens,
cen then a skylark hung The solo is
short and serves but to begin the tone pic
ture. The alto chorus gives the continual
ton in soft, delicate waltzlike rhythm,
Soft, soft summer clouds were floating
round him." the phrase later taken up by
the sopranos, the two chorus parts alter
mating. The joyous notes OF the skyiark
er and higher they suit the words, Such
throat would burst with the delicious mel
ody, and then the full power of the chorus
was heard in the repetition of the theme
by the four hundred voices.
The bird rejoices that 1.-The summer is
come" and the soprano and chorus con-
clude with There is joy in the mountains"
The contrast comes again when the fare
Wei VEL reIratn Is reRsatea, anu n+ ms ga again
are mingled into one
The closing, theme is majestic, and has all
Thou Art Mighty" the baritone leading in
the words, which are repeated by the
chorus. In one great volume of song, with
the voices and orchestra and soloists in
perfect unison, the last notes of the beau
tiful cantata died away. 1t was with re-
greet, for of all the choruses given in the
festival this one has qualities about it that
accord with the understanding of the Gull
tured musician and the. lover of sweet
sounds The composition is remarkable in
its musical expression for the words.
THE CHORAL FANTASIA
The chorus was first heard in the Choral
Fantasia, by Beethoven, in the unusual
combination of pianist, Mr.. Oliver Willard
Pierce chorus and orchestra. At the sig
nal of the director after the grand introduce
ton by the orchestra the chorus arose, and.
exactly with the wave of the baton, the
voices in perfect harmony broke forth in
the grand choral The idea embodied in
the music is that which serves to best rep
resent music arranged for this style of COM
position. It's beauty depends entirely on it's
manner of singing. All the finest effects
were brought out in the crescendos and
diminuendos, which We're arranged with
careful nicely. The simplicity of the COM
position is thoroughly classic. 1t is tuneful
but its very simplicity makes it difficult to
interpret. It's oft repeated theme has Pc
culiar fascination. In all that the chorus
did there was evidence of a master leader,
the voices following with strict attention
the well-proportioned phrases, the recurring
accents and the marks of expression which
made it a well-ro Inded whole one of the
chief eXcellehcies of the chorus was the
intonation. In all the variety of passages
there was none in which the voices were in
the least harsh. Quality was sought, and
the result was pleasing. The attack, the
sostenuto the staccato and the abrupt,
well the long ending, We're finished per-
formanceS. The audience was enthusiastic
and all the musicians were applauded at
length.
The great work of the chorus however.
was in the cantata, and the melodious
phrases could not but stir the nearer as
they were produced by the choir of voices.
1t was a magnificent performance and one
that will mark a sred-letter night in the
whole list of festivals in this city. Every
detail was touched and reflected the mean
ing of the composer with sensitfveness
that augmented the wonderful wealth of
harmony in the work. Every member Of
the chorus should feel grateful to have had
q mart In ANYTHING that could so respond to