The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1898-05-07

gone before. 1t is very rare. indeed that
a composer takes the liberty of introducing
a waltz in the symphony. but French COM
posers have done 1t, and Tschaikowsky has
given his symphony modern and vital in
terest particularly TO a large and mixed
audience. in the third movement. This is
a decided waltz. of sufficient style to give
1t musical worth and of a time and cadence
to catch the. ear of the lover of dancing,
so that II suits in physical as well as spir-
itral form. The fourth and closing number
is in the major and is of the Intense Slavic
that best illustrates the music of Russia.
The movement represents CoSsack dance,
and forms wild and brilliant finale One
popularity of the whole composition was
the conspicuous part of the trombone, ii
being very much iJt evidence, except in the
third part. A charming feature of the third
movement was the theme taken by the
second violins and repeated by the first
violins, and the syncopated accent intro
duced several times. 1t IS doubtful If
symphony, so comparatively new to every
one present, has been better enjoyed. The
form and style are such that they are not
too heavy for the average listener. nor too
trlf1ing to engage the attention of the most
critical. Mr.. Van der Stucken had to bow
his acknowledgment for his orchestra
after each part.
NINE JUCH'S SOLO.
Pretty Mime. Jueh had the first vocal solo
of the evening. She was given cordial
welcome and she sang divinely. For pure
artistic singing, Nine. Juch is peeress, and
the sympathetic quality of her beautiful
voice was given the closest attention
in the three songs which she gave. Her
programme number was the exquisite "Lor-
elei'' by List, one of the best of all the
songs on that subject, which so many COM
posers have essayed. The accompaniment
is expressive and the harmony of voice and
instruments makes the song pre-eminent IN
the list of songs which List composed.
Nine Juch was at her best in voice, and its
" md 70 ri Fh
tones touched the hearts as nothing else has
done so far at the festival. and after all
by the melody of music. Nine Juch was
given an expression of the pleasure she had
contributed by an applause that grew heaV-
Ter and heavier as she retired from the
room She was thrice recalled and then re-
turned and sang 'Mattineta" by Test, and
Mrs. Lawrence, of Dayton. the orchestra
harpist, played the accompaniment Again
Nine. Juch was recalled and gracefully
consented TO sing again, and such song
has only been heard in this city once be
fore and Nine. Juch sang it then, 1t was
Rubinsteins "Thourt Like Unto q Flow
err" Seven years ago Nine. Juch sang it,
standing with one hand on the back of
rough orchestra chair and there were people
who cried as she sang. Last night there
was all of the exquisite soul of the singer
she stood as quietly as before, but her
hands We're dropped at her side and not
a movement was there anywhere in the
vast hall, for silently, almost with paintul
silence, the audience waited with breath
held, and it seemed a dissertation that there
was any applause after the last note had
died away. Any seeming lack of appre-
citation must be accredited to the profound
impression the song made. Mrs. Lawrence,
who played the accomplishments so beauti-
fully for both encore numbers is one of the
best harpists in America
Mr.. Bispham had a prelude for his song,
when Mr.. Alexander Weiss came to the
front and announced that Mr.. Bispham
asked the indulgence of the audience, as he
had taken a cold the day before, but, not
wishing to diSappoint an audience he would
do his best" statement received with
such applause that the singer might feel
anything he would offer. Mr. Bispham's
singing the first night in ''Lucifer' has Gre
ated a profound impression of the possibili-
ties of the human voice, and those who had
heard said to those who came for the first
time last night, IF we had not heard him
before, and if there had been no excuse
made for him, we should have thought the
voice magnificent" Mr.. Bisphams solo,
the "Wotan's Farewell and Magic Fire
Scene" really gives him but little singing
to do. The orchestration throughout the
number is elaborate, and the instruments
carry the motifs with such persistence that
the voice seems to have but a secondary
part The golrious tones of Mr.. Bispham
were rich and powerful, and showed above
all that he is a Wagnerian singer of great
ability With his powers he can cope with
the Instrumentation which Wagner has
builded, like a great stone wall about the
voice parts of his operas Mr.. Bispham
was recalled twice after his number.
ANNA M'KENZIE.