The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1898-05-06

frequently the case with orchestras less
admira BILE than this one under Mr.. Van der
StuckenS baton This second theme is re-
peated first by one set of instruments and
then another, the instruments and keys
changed, adding color and richness and
then at the other. One of me effective in
struments in the orchestra is the bass viol
t when bears strong part in the interpre-
there is no return to an overworked theme
Ior the coda, but the composer has thrown
Win laVlshneSs, only possible with a
genius. an entirely different bit of instru-
mentation as climax for his one work of
TINS description: Into this opera Beethoven
poured wealth of composition which he
never lived to hear appreciated. 1t is one
OF the overtures which is repeatedly given
put II Is probable that more mastery
count.
;. The "omnipotence, by Schubert. was the
hrst opportunity for the patrons of the Sec
ond and not the first, concert to hear the
chorus, and in addition. one of the festival
stars. Mr.. George Hamlin, tenor, appeared.
Mr. Hamlin had a much better part in the
Omnipotence' than he had in "Lucifer"
whe ere, al the glory went to Lucifer and not
70 water. Mr.. Hamlin has tenor voice
that has none of the insipid quality so fire.
quent with mems voices that sing only the
upper tones. His voice has a manly quality
ana with 1t clearness and a purity of in
tonatlon that make him a most acceptable
singer In the high sustained tones the
even t,' flexible quality that made it spread
tnest corner Of the hall, accented another
agreeable quality of his voice The song is
wonders of nature. Schubert was q man nan
deeply impressed with nature and many of
MS WORKS extol the elements. This work
Llszt, AFTER hearing it, tranSposed it for
mems voices and it was left for Mr.. Van
9e r, Stuck Ken to touch the happy medium and
write IL Tor both mems and Women's voices
as 1t was given last evening
me soiolst leads in the expression Of
pralse ana M the chorus voices re-echo the
Jehovah, the Lord" dignfied magnificent
and impressive 1t is written and was Sung
with an amplitude and largeness that Cow
cred the EARTH The number is a short
work of the composer and took but a few
minutes. The chorus did some excellent
was used to rebound to the glory of God.
do dnere was hush of expectancy as the
ooors 10 the right of the platform were
opened and the star soprano soost of the
evening made her appearance Nine Johan
ma Gadski has beer heard here before and
indianapolis people take particular inter
est in the singers who form the leading At
traction of the festivals. Nine. Gadski is a
superb woman in form and feature and her
keeping with her admiral BILE presence With
greSt purity, fullness and color she gave the
brilliant aria from Der Freischuetz" Nine
GadsH sang the aria with a joyous aban-
uoH that Iully expressed the rapture of the
scene OF the opera and there We're many
little evidences that she would have liked to
nave Deen singing in the opera, where she
might have allowed herself some dramatic
action. The voice is not one that thrills
that the selection is one to create that SEN
sation, except in the very joy and rapture
which 1T so skillfully describes in song and
accompaniment. Nine Gadski was given a
most cordial and spontaneous applause
winch brought her to the platform twice
ana then she brought with her piece of
sheet music and this was the signal for
another outburst, for it meant that which
the pubic SO dearly loves. twice for it's
sang ha Xofa g TSn Nine Gadsh
Time by Arthur Bird and Mrs S. l., Kiser
played a sympathetic accompaniment
Funeral March from .Gotterdamm Damn runs 'f in
memory of Anton Seidl. Mr.. Van der
Stricken conducted the same selection for the
memory of Mr. Seidl. The number was a
lifting tribute to the master conductor who
SO suddenly laid down his baton, in death.
me composition is considered one of the
noblest works of Wagner this death march
from Siegfried, and is not only a march
but it typifes the mystery of death itself
order to get the full effect of the weird
music. the eyes should be closed and nothing
should be seen, all the senses being bent
toward the one of hearing. Certainly all
instrumental music can be better appre-
ciated when there are no sights to distract
Wagners idea of a funeral march is unique,
and as such it can be likened to nothing that
has been written by others When the heavy
measured throbbng of the instruments
ton and the memory of the eminent leader
Anton Seidl. brought the dead master be-
fore the minds of many who have heard him
listened to his orchestra many times. 1t was
almost a relief wnen the last note had died
away and the chorus made move from the
platform, and the moment of the intermiS-
sion had arrived.
THE "rANNHAUSER" ACT
To review '"Tannhauser' is to review
well-known lesson. It's themes and motifs
are familiar to musicians and music lovers
alike. There is no Wagneran opera better
known and it is one of the most admired.
1t was the third opera that Wagner wrote
and it does not abound in those rare COM
binations of notes that make his later
works the envy of the originator and in
ventor of themes. This second half of the
programme brought all of the company of
MUSICIANS together There Ren was vas Nine.
beth, Mr.. Hamlin, who sang Tannhauser,
and Mr. Paul Haase, who sang Wolfram.
There was the chorus and orchestra, as
usual, and the Amphion Club, under the
direction of Mr.. Oliver Willard Pierce, sang
the Pilgrims Chorus, a combination IL at
gave splendid voicing to the third act of
"Tannhauser The number has never been
so fully given i'll concert here before. Nine.
Gadski and Mr.; Hamlin sustained them
selves well and Mr.. Haase. who has a we'll
cultivated baritone voice, delivered his lihes
with fervor and dramatic intensity. The
chorus OF pilgrims SdIlB III the OutSI CUT
ridor to piano accompaniment, and sang the
first time with nicely of attack and tone,
but the men did not seem so sure of them
selves the second time, and lapsed little
from what might have been signal success
for them Having sung once, the idea
seemed to be that there was not a necessity
for keeping the nerve force at the same
tension as at first, one of the direst mis-
takes of amateurs In the finale the pill
grims marched in and took their places on
the platform and assisted in the final
chorus. 1t is questionable whether this
much action of the opera should have been
introduced, for it was the only thing done,
and the men coming in, ever so quietly.
could not but divert attention from the solo
singers who were continuing the opera
Mr. Hamlin's long solo was test for his
voice which is excellent in so many re-
spects, Mr.. Haases deeper tones and Mime.
Gadslxi's soprano were in evidence, but 1t
takes a voice of fine carrying quality TO
overcome the volume of tone from the
chorus. .
The chorus was effective in all that 1t
did but it cannot be said that 1t sang the
''Tannhauser music as we'll as 1t did the
ssI,ucifer'' of the first night. The work OF
the chorus is something to be proud of. The
members individually and collectively have
snent weeks of hard work in preparation
and the splendid results have given to this
CITY a standing among the visiting SololStS
that piaceS 1t second to none in the country.
EVERY artist who has sung with the chorus
IS enthusiastic in praise and the test of
show what the chorus can do and that is,
If can sing some of the most difficult music
that has been written. ,,,,-r,>-,,
"OIAF TRYGVASSEN" TONIGHT.