The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1900-02-07
SYMPHONY CONCERT.


The second concert Of the indianapolis
Symphony Society was given at English's
last night. The house was filled from the
footlights to the doors with appreciative
audience and the artistic success was gen.
eral and we'll merited. Mr.. Schneider is
master of the art of programme making,
the arrangement of last nights numbers
again proving this.
The concert opened with Schumanns
captivating, ever youthful symphony in
B fiat The work presents MANIFOLD diff
culties both as to conception and execu-
ton; it is composition in which the great
master has thrown his most subtle
thoughts, his innermost secrets of heart
and 1t was written at unexpectedly the
only short period of his life-when Schu-
mann believed in a joyful present and a
sunny future. After wellnigh insurmount-
able difficulties he had wooed and won. To
adequately interpret such work, there
must exist a psychological connection be-
tween composer and conductor, and the
delightful manner in which Mr.. Schneider
read this spring and love symphony bears
eloquent testimony to his ability to con-
ceive and express the composers most in
dividual thoughts. The orchestra seemed
magnetized and played the third and
fourth movement splendidly. The first
seemed to suffer under a slight uneasiness.
while the second, the larghetto, in itself is
little disappointing, for it has nothing
| in common with the joyous, jubilant tones
of the work. Besides that does 1t resemble
| too closely another well-known theme. All
| in all the rendition of this symphony was
a ri n 10 Mi IF
OF the modern composers Peter Tschai-
| kowsky was represented by three num-
| bers. Tschaikowsky Is not only ultra mod
ern but besides decidedly Russian. 1t is as
with Greig. one will never forget his ma
| tionality. So for instance his Overture
1872 and the March Slave" which latter
was given last night. contain both the
| Russian hymn. But in spite of this pa
| triotic offering his music remains revolu-
| tionary. Nihilistic someone has called it.
| The " March Slave" has sounds that make
one think of the approach of the modern
| vandals. The technical difficulties were
| well handled and the effect on the audience
/ was very marked one.
| Quite q different work is the same COM
poser's. Overture Fantasy. Romeo and
| Juliet" A we'll worn theme In a new
/ cloak and yet something so entirely differ
| ent from two notions of the composers
| A posthumous work by Tschaikowsky, en-
| titled Duo from Romeo and Juliet" COM
| pleted from sketches and Instrumental by
| Taneiew, contains some themes which &C.
| cur in the Overture. and being written
/ to a text affords an insight into the mean
ing of the purely instrumental compost
| tons.
The work was rendered with much devo-
| ton, the series of dreamy, weird chords
| picturing the unhappy lovers end was re-
| ceived with deep interest.
| The soloist of the evening was Mile
| Frances Saville. Her first number was
| Verdis Recolative and Aria from LA
| Traviata." Mile. Savile rendered this
| well-known song, "Estrano, estrano" and
| "Ah fors e luz with much grace and good
| effect. However there was a lack of emo
| tional power and in the high notes a ten
dency to thin out which was very much
| in evidence The encore "Guten Abend
| CUTE Nacht," by Bramhs, afforded the
| singer little opportunity to redeem herself
The song is evidently too high keyed AND
| thereby mars the effect. Against this
| Wagners "Traeume" was sung most beau
| tifully and also Massenet's louvre tee
| yeux bleus" merited the strong applause
| which the singer received. She kindly re-
| sponded with another encore, song by
Massenet, words by Victor Hugo.
Tschaikowskys valse from La Belle al
| Bots darmant concluded the concert.
The evening was a great success, botf
| artistically and financially and since botf
the city people and the orchestra people
| have done their best mutual congratula
| tons are in order. X. Il.