Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1898-02-20

ed his attention to the composition of
symphonies.
At this time when fortune seemed TO
! smile at last. he took step that embit-
tered his whole life He fell in love with
one Of his pupils. but she refused him and
entered a convent; but her father entreat-
, "a him to marry her older sister; in an
! evil hour he consented, and she proved 20
he 4 shrew. auarrelsome and extrava-
CANT and wholly unable TO appreciate her
husbands genius. They lived apart
| through the greater portion of her mar
| ried life.
In 1761 Prince Esterhazy engaged Haydn
| as his Capellmeister and he remained
| in the Princes service until 1890. A year
| later he paid visit to London at the
earnest solicitation OF musicians there,
and was received with the greatest en-
thusasm six Of his symphonies We're
performed during his stay and aroused q
storm of applause. Upon his return 70
his native land he continued to compose
ana the elimination Of his career was
reached in the works of his old age, 1.-THE
Creation and THE Seasons" The sue
| cess of both was enormous and he com
posed very little after them. He died in
1909
The friendship existing between Haydn
! and Mozart is always very interesting 20
musicians Mozart was his pupil and -
ways called him Papa" Haydn, and
they were tenderly devoted TO each other.
| Haydn pronounced Mozart the greatest
| Composer in the world and fully recognize
"a his genius. Beethoven was also pu-
Pill of Haydn but they were not at all
congenial Haydn was accused of neg
| ecting Beethoven and the latter made
contemptuous remarks about the Did
man which wounded him deeply. Howev-
er. Beethovens resentment softened IN
| later years.
| The list Of Haydn's compositions IS
| enormous. 1t includes 125 symphonies, 30
trios, II quartets, 20 concertos, IS trios for
| piano and strings, 81 sonatas, IA Masses,
oratorios, 10 operas, AZ canons, and q
| vast collection Of other works-as well rs
over 800 songs.
| In estimating Haydn's life work as a
| composer the Principal stress must be
| laid on him reformer in his art. Con-
| trapuntally, music was at it's highest de-
! velopment. but concerted music was not
| prominent as distinct branch of the art.
Instrumental music was confined mostly
to dance tunes. and Haydn turned his at
| tention to fuller orchestration and inn
| provements in style and tempt The form
of the symphony ais he wrote it remains
| the artistic model which composers have
| followed since him time. The same is true
| Of the quartet The characteristics Of
| Haydn's music are simplicity, clearness
and an exquisite grace and cheerfulness,
although it must not be forgotten that he
| could be serious and profound when occa-
sion demanded. His best achievements
are listened to with delight and it may be
| that his fame will endure long after the
vague, restless and labored music of the
present era is forgotten.
| The Toy symphony which will be
| heard tonight is one or Haydns lighter
| works musical joke, As it were, III
| which he delighted. The song, MY Mo-
| ther Bids Me Bind My Hair is a charm
| ing melody allied to an accompaniment Of
| the most exquisite lightness and beauty;
| it would be well to notice the embellisE1-
ments with which ii abounds, these being
| in Haydn's true style.
! The Gluck numbers are from his most
/ famous operas. ''Orfeo' and "Alceste. =
| The aria "Che faro Senza Euridice" is
| always a welcome number on a concert
| programme. and is included in the reper-
toire Of all famous contraltos The story
| is as follows: Eurydice had died snd Or
| pheus had gone down to the lower world
! 10 beg Pluto to restore her to him. The
| god consented on condition that Orpheus
would play his lutte without once glancing
| back. and his wife would follow him TO
| the upper earth. The temptation, how
ever, was too great; he glanced back and
saw her fade away before him.
| When he realizes that he has lost ner
| forever he pours forth his grief in these
| wailing cadences.
/ In the opera ''Alceste" the idea to which
\ is given musical expression IS devoted,
/ self-sacrihcing love. Admetus, king Of
! Thessaly, is dying and the oracle pro
| claims that ii another will voluntarily
/ die for him, Admetus shall live. Alcesto
/ declares herself willing to be the sacrifice
! for her beloved husband, but he with r.
! turning strength sees the anguish of his
| wife when she takes leave of her children
4 and demands to know the reason. She is
/ forced to admit that she is the victim VINO
/ will restore his life. Then ensues a strug-
! sic of love and sacrifice. ana Admetus de-
I clares he will die with her The gods in
| terfere, however, and all ENDS happily.
In the overture the two sensations love
and fear are described as waging contin-
/ uaI warfare.
! In the concerto, Haydns simplicity ana
! clearness of style are given expression,
and it is considered one of his finest
works. The rendition by the Philharmon-
| ic Quartette, whose presence this evening
| is a compliment the Womans Club most
! thoroughly appreciates, will show the
| beauties of the work ais no written de-
scription possibly could.
\ Everyone is familiar with the oratorio
I number on our programme, with Ner-
dure Clad" 1t is one of the beautiful airs
with which The Creation" abounds. al
I though the oratorio is long, the interest
/ never flags. and musician and diIettante
alike enjoy to the fullest the wealth Of
melody and elaborate orchestration which
are its strongest characteristics.
| In the language of Gluck himself Sim
plicity. truth and naturalness are the
great principles Of the beautiful in al
productions Of art
Don't forget the Masquerade Ball
given by the Wheeling Turner's at Tur-
ner Hall, Monday evening, February