The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1900-12-06
PHILHARMONIC CONCERT.
The Music Thoroughly Enjoyable
MIR. LfebIins's Playing.

A large and undoubtedly select audience
of the city's admirers of good music as
sembled in the auditorium of the German
House last night, the occasion being the
first concert of the Philharmonic Club for
the season of 1~900-19O1. One who enjoyed
the admirable programme and witnessed
the enjoyment of the rest of the audience
could not help wondering why these events
do not attract enough people to take up
all of the available seating space in the
places in which they are given. Certain it
is that thus far in the present season a
goodly per cent. of the music loving pub
lie of Indianapolis has cheated itself of a
great amount of pleasure by remaining
away from concerts given by local organi-
cations which really have been of metro
politan brilliance. A more delightful vocal
and instrumental programme than that
rendered last night by the Philharmonic
Club and Mr.. Liebling, the eminent pianist,
could scarcely be arranged. In fact, the
even balance of the many numbers sung
and played was one of the most striking
features of the concert. Edward Nell. the
capable director of the club, deserves much
credit for the success of the event. The
directors work was also apparent In the
infectious s~pontaneity with which the
young men sang, as il entering entirely
into the spirit of the selections. Then, too,
there has been a vast Improvement in the
voices since last season, indicating a desire
on the part OF both director and member
ship 70 enlist the best vocal talent obtain
able.
The numbers rendered were the Largo"
(Handel-Damrosch), Let the Toast Pass"
(Jordan), Foote's Farewell to Hiawatha,"
Titles when Love is Done" Monger's
Italian Popular Song and '"The Soul of
Music Lives not In the Words by w. p.
Chapman. From such an attractive list 1t
is difficult to select one and say it was the
most enjoyable. The Largo with Mr..
IL NJ " lk1+'C fannr IN tha Snln nortc uyoo
warmly a~pplauded. LET the Toast Pass"
an ensemble number, was given with all
the dash and life implied by it's words.
THE Farewell of Hiawatha" was perhaps
the most pretentious selection on the pro-
gramme and afforded the club the largest
opportunity for distinction in addition to
providing several solos for Mr.. +. N. Tay-
lor's rich. clear, sympathetic, well-modu-
lated baritone. The popular taste was
strongly appealed TO by the dainty love
ballads "When Love is Done" and italian
Popular Song" and an Intellectual effort
was made to draw out an encore. With
commendable modesty Director Nell re-
fused to respond to but one demand for
an encore. in that case the offering being
a verse of "Dixie," which never fails TO
provoke enthusiasm.
The extra event of the concert was the
piano playing of Mr.. Emil Liebling, of Chi
cage. Mr.. Liebling quickly won his way
into the hearts OF his audience, despite his
entire lack of ostentation or mannerisms,
thus demonstrating that piano virtuosos do
not really nave to be equipped with mats
Of hair through which to run their fingers
at frequent intervals in order to prove that
they are masters of the instrument. One
OF the most c~ommendable traits of Mr..
Liebling is his almost utter disregard of
his vast audience I'm the matter of counting
their favor. He plays the piano as if he
loves il, not as if he were giving an exhibit
ton of his ability for hire. His is not the
dynamic. awe-inspiring method. 1t is rath-
er the natural, sympathetic method.
Mr.. Liebling's programme took a wide
range of authorship. including McDowel's
prelude, Op. TO-" Wagners magic fire
scene. from 'Die Walkure:" Springs APP
proach." by Sindling: Chopin's exquisite
"Nocturne. Op. 81, No. q" the ''Serenade
and Florence Valse" 0iebling), Ruben
STEMS "Barcarolle I'm A Minor" Godard's
Pans Flute" Schytte's "Etude and Po-
lonaise." Henselps largetto from Con
certo. OPP. 16," and Carl Reinecke's BAL
lade. OPP. 90" The numbers ranged from
grave to gay, from the thrilling and inspir-
ing TO the delicate, dainty and touching
each one handled will consummate intelli-
gence and skill. The pianist shares with
the club an aversion to unduly drawn-out
programmes, and responded to only two of
the clamorous demands for encores with
which his mastery playing was greeted.
These Were the second Bach fugue from
The In-Tempered Clavichord' and wes-
terhout's "Children's Dance" the last iolly
and rollieking, as its title indicates. Prof.
Charles F. Hansen was the accompanist.