The herald., 1898-12-04
IL i! ,R|Se,,



The members and friends of the Sym
phony orchestra are very much encouraged
by the attendance at last Tuesday con
cert. Mr.. Hamilton's work is attracting
nctice in musical centers, and last week h'
received letter from the well-known musi
cal firm of Brussels, Leipzig ard London
Nessrs. Breitkoff & Hartel, asking HIM foi
information concerning the orchestra and Its
work for publication in their review, entl
tied. "Neue Auffuhrungen Ausgewahltel
Groesserer Gesangsund Orchesterwerke
Nevertheless, the support that Los Angeles
is giving this organization, of which 1t should
iustlv feel proud. is not yet sufficient to IN
sure its prosperity. The first concert tei
behind about S67 and the second S32. IT a few
more season tickets were sold before the
next concert this deficit could be wiped out,
and the orchestra would be assured OF iul
and successful series of concerts as at first
arranged.
The pupils of the Los Angeles Musical col
lepe will give musicale at the Friday Morn
ing club rooms, 3301a South Broadway, next
program will be rendered:
"Only Year" QBruner), Miss Phoebe
Labarv: Forever and Forever" (Tosti),
Miss H. G. Lewis; Flight of Love" (Shel-
levi, Miss Zoe Gilly; Blind Girls Song
(Ponchiclle), Miss Bessie Holbrook; "A
Morning in May (Denza), Mrs. {. IL.
Fuller; Dream Islands (Adams). Miss
Adele Lauth; Boat Song (Guercla) !,
Messrs. little and Quinlan; "Merrly |
Roam (Schielfarth), Mrs. I. knight;
Loves Old Sweet Song" (Malloy), Mrs.
Ouinlan, Mrs. Bryson, Miss Halbrook and
Mrs. Kussman; ''Callest Thou, o Master
(NIietzke), Miss Weaver; "Marseille," Louis
Bachman; Twas April (Nevinl, Mrs
Walter Sheckels; "a Winter Lullaby Ode
koven). Miss Grace Clark; "A Dream
(Bartett), Mrs. 7. E. Murphy; Thou Art
Near" (Vannah), Mrs. f. T. Kussman !;
Good Bye (Tosti) Mrs. d NJ. little; Land
Of Yesterday" (Mascheroni), Mrs. Frank Bry-
son: "What from Vengeance" Donizetti),
Mrs. Quinlan, Mrs. Bryson, Messrs. little,
Morris, Culver and Denison.
O O o
Moriz Rosenthal, who will be heard III
Simpson tabernacle on the evening OF the
Goth inst. and the afternoon of the 3lst, is
according to the most learned authorities
on the art of piano playing, the king OF
pianists. In Germany his playing has gained
heavily on the musical, the imaginative side.
He plays Lszt, Brahms, Chopin, Schumann
eoually well. Rosenthals playing has been
described as being fabulous, sensational and
a miracle of perfection. Now, perfection
in any art is rare, for he begins where most
,,, A tOI
playing of this sort; playing like that, the
whrlwind, reasons not, caJoles not, but
sweeps you off your critical legs. The pianist
who can accomplish all the wonders univer.
sally ascribed to Rosenthal must be a
magician. In London, England, no higher
praise was ever paid to living artist when
a great musical authority wrote ''he plays
like a god!'
One of the most superlative humbugs in
the musical world is the analytical program,
declares a writer in the New York Post. If
a botanist proclaimed to those who would
like to appreciate the beauty Of flowers, but
did not know how to begin, that the proper
way was to dissect the flowers and learn how
the stamens and pistils, the petals and sepals
are put together, he would be laughed at
If literary critic declared that the secret OF
approaching poetry lay in the knowledge OF
the art of parsng and scanning, he would be
hooted at. But if musical critic tells the
gaping public that the secret of understand
ing and liking music lies in studying its os-
teology-finding out how the bones and joints
are put together-the innocents stand in
awe and wonderment at his superior wisdom.
As matter of fact the critics who know most
about musical form are usually those who
know least about musical beauty Schumann
declared that the musical critics are usually
a decade behind the public in understanding
the beauty of new forms of art, and List
varied the same thought. when he said that
critics are ''the rear-guard of the musical
army in its march of progress.
Mr. Philip Hale, one of the critics who do
not believe in analytical programs, has re-
Gently unearthed an amusing parody of that
form of pedantry, written in 1854 by the
western humorist, John Phoenix. For the
edihcation of the writers and readers OF
analytical programs, it is reproduced here.
1t describes a composition entitled The
Plains" Ode-Symphonie par Jabez Tar
box:
The symphonic opens upon the wide and
boundless plains in longitude lis degrees
west, latitude 35 degrees, 2l minutes, 03 sec
onds north, and about sixty miles from the
west banks of Pitt river. These data are
beautifully and clearly expressed by a long
geographically drawn note from a B-fiat
clarinet. The sandy nature of the soil
spaIsely dotted with bunches of cactus and
artemesia, the extended view, fiat and un-
broken to the horizon save by the rising
smoke in the extreme verge, denotng the
vicinity of Pi Utah village, are represented
by the bass drum. A few notes on the pic
colo call the attention to solitary antelope
picking up mescal beans in the foreground
The sum- having an altitude of 36 degrees 81
minutes, blazes down upon the scene in in
describable majesty. "Gradually the soun1
roll forth in a song OF rejoicing to the God
Of Day:
OF thy intensity
And great immensely
Now, then, we sing:
Behold.ng in gratitude
Thee in this latitude,
Curious thing.
which swells into Hey Jim along, Jim alon.
Josey," then decrescendo, mas menos