The Providence news. (Providence [R.I.]) 1891-1906, 1900-03-29


orchestra drawn 10 Infantry hall the
cream of Providence musical society to
listen TO music which. although old 10
most OF audiences, is ever welcome
when given by this organization. The
program was as follows:
Symphony I'm G-major. "oxford" (Pe-
ters, No 3; Rieter- -Biedermann. No p
i. Adagio tG-major).
-. Allegro spiritoso (G-major).
| III. Adagi0 tD-ma1or).
Ill Minuetto: Allegretto (G-major).
4 Trio (G-major).
| Nv. Presto (G-maiorl
Concerto for Pianoforte No. 4, in c.
major. Op. 5S,, Ludwig van Beethoven
/ II. Andante con motto (E-minor)
| III. Rond0; Nivace (G-major).
| GO scadenzas by Mr.. Dohnanyi)
suite NO. from the MUSIC 10 Peer
J. Morning Mood: Allegro pastorale (E-
IL. Aass's Death: Andante doloroso tB-
Ill Anitrafs Dance: Tempo dl Mazurka
(A-minor).
Nv. In the Hall of the Mountain King:
the imps are chasing Peer Gynt:
AHA marcia motto marcato CB-
Overture 10 ''obcron". =. Karl Maria Won
Weber.
The symphony, Haydn's oxford"
in q major. has not been publicly given
here for some time, and it's sprightly
little themes and smoothly flowing har-
monies were a pleasing contrast to the
heavy work OF the newer composers
with which the last few programs have
been filed. There is something about
Papa Haydn which leaves the list
ener in a satisfied mood, with himself
and all the world, and his music can
but do good whenever and wherever
us cheerful strains are sent forth.
Even in his most solemn. passages the
undercurrent OF Joy makes itself felt IN
httie outouTsts of gayety, which, how
ever, never seem out OF place
The Peer Gynt suite, OF Grieg, with
it's weird and curious situations and
fantastic descriptive construction.
brought out an entirely different ef-
feet from the previous selection car
rying the hearers into the witchand of
music, and toying with the expectJ~
tions In this composers own peculiar
way. As a writer OF music which ap-
peals to the ludicrous or supernatural.
Grieg is a marked success. for he seems
70 own the key 10 combinations which
depict all sorts OF horrors and uncanny
performances.
The soloist OF the evening, Monsieur
Edward Dohnanyi, well merited the
applause. NJ. Dohnanyi is a young
man OF unassuming manner and OF
rather pleasing personality, and his
handling OF the Beethoven concerto was
remarkable in technique. showing much
study and devotion 10 skilful practice.
His execution Of the first and last
movements was brilliant in the ex
treme, and while the deep meaning
OF the composition seemed scarcely to |
f.e
manner In which the young musician |
surmounted many difficulties gave evil |
dencc of a mind capable of grasping i'm |
time the ideas, full extent OF which is |
beyond the comprehension Of ordinary |
mortals and plain only TO the devoted !
musical student
The rendition OF the second move !
ment left little to be desired. AS an
exponent of the modern school, NJ +
stands in the front rank OF /
and time viii undoubtedly |
bring forward such characteristics as
are now lacking.
The closing selection. Webe~'s over
ture to "Oberon." gave still another
style of music a vantage point The |
easy, flowing rhythmic undulations of
his composers hand can never be bet
-er shown than in this. perhaps, his
inest opera, and the overture ia fit |
exponent OF the entire work.
The mastery handling Of the entire
program was no more than the au-
Hence expected from the players who
always reach the acme OF anticipation |
n the way OF everything excellent
owing to the illness Of the leader. Mr..
iericke, the orchestra was carried |
through the intricacles # the program
~ the concert master, Mr.. Franz Enei-
el, who ably filled the place OF con-
luctor, and added much 10 the enjoy
ncnt Of his many Providence friends.