The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1898-05-07
OLAF TRYGvAssON.
A Critical Estimate of the Work and
Presentation.


Presentation.
1t is difficult to observe logical and artis-
tic sequence in a festival programme. After
Tschaikowsky and Wotans Farewell it
is a descent to Grieg, yet, for obvious rea-
sons, the choral work had to come last.
Mr. Van der Stucken, who is a master of
the rare art of programme making, was
forced to anticlimax. Last night. with
the closing scene of the 'Walkuere,'' the
night before with Sigfried's Death March"
For festival it was an unusually modern
programme and brimful of color. The Gin
cnnati orchestra, with the exception of the
wood wind which somewhat marred the
first two movements, gave a brilliant per-
Torrance of Tschaikowskys fifth SYM
phony. 1t is a work that they have
given in four or five different
cities this winter, and are therefore techni-
caIly especially well equipped. The SYM
phony is an odd mixture of pure flowing
melody that might belong to any national
ity and of outbursts of Slavic fury and ORR
entail coloring. The melody of the second
andante haunts as does the theme in Schu-
berts unfinished symphony. The melancholy
waltz is a clever bit of scoring, but it is
hardly up to the level of the other move
mentS. Among the ultra modern ii is fash
lOnaDI0 10 say tnaL IScDdinOWSky is already
showing signs of wear. To a certain extent
this is true, but he has enough of what the
Germans call sehnsucht (the eternal long
ing) to assure his following as long as
the emotional and romantic exists in music.
The Triumphal march, at the close, which
in its cooring suggests the Meistersinger,
is a magnificent paean of JOY Mr.. Van der
Stucken is a sympathetic interpreter of
TschaiknowSky. Warmth, blood, delcacy
and brilliant contrasts and irresistible eli
makes are in his reading.
Nine. Emma Juch was accorded an affec-
Tomato welcome in I4iszt's "Loreley."
was never great admirer of Nine. Juch
as a dramatic singer, but she sang Lore
ley" last night with exquisite tact and keen
knowledge of dramatic effect. Her voice
is not what 1T was, as was painfully evil
dent in the few measures she sang in olaf
Trygvasson.' Mr.. Bispham was obliged to
so husband his voice on account of a severe
cold that criticism is hardly just. The
admirably, and festival-goers were given
an opportunity TO compare Wagners mar
yelously realistic reproduction of cracking
fire with BenoitS somewhat cruder but in
teresting scoring in "Lucifer."
Greig's highly favored Oriento- Norwegian
cantata was given with extraordinary vital
ity. 1t was an object lesson in what Amer
lean choruses can accomplish. The balance
ing of the various parts was almost per-
feet, the volume certain and under the con-
ductor's beat capable of all the nuances.
The creScendos in the chorus beginning,
Other gods are now arising, were inspir-
ing. Mr.. Bispham let his voice out rather
more than he did Wotan. Mrs. Jacoby
sang the Woelva. Greig surely never pic
tured in the gloomy hills of Trondjhem
fjiord a more impressive, charm toned
prophecies than this singularly gifted
singer. 1t is a part that demands an ex-
traordinary range, and one that singers
do not hesitate to transpose. At the Gin
cnnati festival the part will be sung by
Mrs. Lawson, a soprano. Mrs. Jacoby' S
voice has enormous possibilities. It's color
is the fathomless blue of a southern sky.
"Olaf Trygvasson'' furnishes excellent ma
terial for analytical rhapsodists. In the
musical setting to this unfinished drama
there is much that Is Morse and much that
is Oriental the latter recalling at once the
familiar rhythms of Turkish marches. Did
the Laplanders bring these themes from
Mongolia 10 Grieg?
ROBT. L CARTER.