Worcester morning daily spy., 1898-03-22
THEODORE THOMAS.

part of the feast, came first, when the
audience was fresh. Immediately fol-
lowing 1T was the mellifiueus and gorg-
eously orchestrated Invitation to the
Dance" and the succeeding numbers
were full of contrast, variety and
melody that all could appreciate.
Comparisons may be odious, but
everybody in Massachusetts will GER
tainly measure the Chicago orchestra
by the standard set by the Boston sym
phony, and there is no reason why such
comparison should not be made in this
review of the concert. There never has
been another orchestral conductor in
America who could match the superb
swing, sweep and dash that Theodore
Thomas imparts to the body of musi-
clans who play under his beat. That in
vigorating quality the Chicago orchestra
has, the Thomas orchestra has always
had 1t; the Boston orchestra has never
acquired it. 1t is true this quality is
sometimes acquired at the expense of
refinement and precision, and in these
respects the Boston band is undoubtedly
the superior. There are certain figures
in the inner parts which the Bostonians
never neglect to bring out with absolute
clearness, While Mr. Thomas band is
very apt to cover them up. Another
thing. The Chicago violinists do not get
quite the same resonance of tone as the
Boston band, and as a body they have
not the same high degree of virtuosity
There is no intention here to diSparage
the western orchestra, as will be made
apparent before this review is closed,
but just now a comparison is being
made in detail. The wooden wind is
quite as good as that of the Boston
band, possibly, as the New Workers say,
1t is better. The first oboe Is an artist
The brass choir, of which some COM
plant was made in New York, certainly
gave no cause for complaint on this
occasion. 1t was under perfect control,
and it did not overdo its part.
Now as to the music itself. Mr.
Thomas gave the same virile straight
forward and satisfying reading Of the
9 minor symphony for which he has all
ways been famed. There was no exag-
geration, unless it was in the somewhat
Wagnerized slowness of the andante.
There was sometimes a blurring of the
first movement that the very correct
Boston band would never have been
guilty of, but the general effect was
much more inspiring than the last per-
formance Of the symphony by Mr..
Paur's men that we heard. There was
great beauty in the Interpretation of
both the andante and the scherzo, and
the triumphant finale was attacked with
zest and strenuous spirit that left
nothing to be desired.
1t is hard to understand why the Bos-
ton brethren should have been dis
| pleased with Weingartner's version of
! 'The Invitation to the Dance" Berlioz'6
would seem very tame after it. True,
| Weingartner has changed the good old
tunes into a symphonic poem, but it
must be confessed he has made an in
| tensely interesting musical story out Of
them. The Instrumentation (requiring
harps, among other thingS) is brilliant
| to the point of dazzling, and the themes
have been worked out, one against an
other, with clearness and beauty in a
sort of symphonic form. Mr.. Thomas
own Arrangement of the familiar Chopin
| funeral march is also an effective piece
of orchestration. In clearnesS of presen-
| tation the Boston band can excel the
| Chicago performance Of the sMaster-
singers" prelude, but hardly in vivacity
and dramatic effect The vigor and
| spirit which Mr.. Thomas put into his
work made the playing a constant de-
| light and a cause of wonder throughout
| The evening. The accompaniments to the
violinist were managed with admirable
| tact and discretion.
| 1t remains only to speak CT Ysaye, the
wonderful Ysaye. He was recalled three
times after the concerto. At his second
recall after the ''ParsifaP' paraphrase,
| he consented TO play again, anu ms
| singing (no other word expresses it) of
| the hackneyed Mastersinger prize song
"alone was worth the entire price of
admission But to get down to dry
facts. 1t is impertinent to speak of
| technique in reference to such master
as Ysaye, for it is but the means to an
end. What are the results accom-
plished? The most amazing of all, per-
haps, is the breadth, solidity, fullness
richness and nobility of his tone. 1t is
dificult to recall his equal in this re-
spect. With all the strength displayed
! there was scarce ever a lapse from the
utmost of tonal purity. 1t was marvel
GUS Then there was tie dignity, breadth
and nobility of his style, the manliness
Of his readings, His performance was
without the slightest suggestion of os-
tentation or effort. Even when in the
midst of the many and great difficulties
of the Bruch concerto, he seemed as
easy and as unconscious of everything
except the meaning of the music, as il
he were playing but a simple ballad
Technical obstacles were never. obvious
they were not even limited at; they APP
peared not to exist.
Bruch's second concerto is so full of
beauty that one may be permitted to
wonder that it Is not oftener played. The