The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1900-01-11
CLUBS FIRST CONCERT
A LARGE AUDIENCE OUT TO HEAR
THE PHILHARMONIC.
The Work of the Club Improved Over
Last Year-A Look at the
Programme.

The Philharmonic Club gave it's first con-
cert of the season last evening AT Plymouth
Church to a large audience. The club has
improved materially since last year. both
in numbers and in voice quality. The lat
ter was not all that was expected, how
ever The somber timbre was entirely too
much in evidence, and while the pianissimo
was nicely taken, 1t lacked resonance and
musical warmth. In the heroic. as In the
"Star-spangled Banner finale, of the cam
tata Paul Revere's Ride" the club seemed
more at home, and brighter tone was
realized that Immediately found the SYM
pathy and appreciation of the audience.
1.-THE Music of the Sea- (MosenthaD, the
clubs first number, is dainty little part
song that requires great self-control and a
perfect piano. The closing chords. with the
basses taking the rising and falling cadence
in imitation of the organ pedals in And
the snow white choirs still answer Christie
Eleison," was creditably sung. From the
sharply syncopated attack in A minor to
the high tenor A major closing chord
Foote'S "Bedouin Song was interesting,
and the clubs work in this number gave
evidence of careful study In response to
an encore the club sang REST. Dearest,
Rest" by Kuecken. This suffered in con-
trast, however, for the first BASES lost the
pitch and did not regain it till near the
close. From a musicians standpoint the
clubs best work was in Hansen's Sweet
and Low" a dreamy lullaby, which was
sung without accompaniment The voices
were we'll sustained true in pitch and the
changing harmonies clearly brought out by
narfpPt int0naftOn l.OnYfpllOWS
famous poem paul Revere's Ride" set to
music by Dudley Buck, closed the clubs
work on the programme. This cantata is
full of descriptive music and parts OF 1t
quite difficult. The clubs soloists in this
work were Mr.. +. n. Taylor, baritone, and
Mr.. b /. Ryan. tenor, who sang with spirit
and good voice quality. Mr.. Taylor Is quite
faulty in his enunciation, however, rolling
the RS entirely too much. and in an effort
toward the dramatic follows many of his
consonants with the 'ah," as in "Listen-ah
my children-ah," etc. 1t is pity that
voice otherwise so beautiful should suffer
from overzealousness. The clubs climax to
this number was given with open threats
and a wave of sound that can only emanate
from a male chorus. The assisting artists
were Miss Stella Riddell, soprano; Mr..
Christian Oelschlagel, violinist; Mr.. Chas.
+. Hansen, organist, and Miss Lula Brown,
accompanist. Miss Riddell sang Spring
tide by Becker, From Out Thlne Eyes,
by Ries, and Hawleys Rose Fable for
encore in a clear musical voice. Her stage
presence was marred, however, by raising
of the eyebrows and closing of the eyelids
that implied an affectation she did not feel.
The Fifth Sonata" beethoven and
"Fantasie" Ueonard) were played by Mr..
Oelschlagel.- The first number. though not
popular with modern audiences, was inter-
preted i'm a severely classical style and per-
formed in a praiseworthy manner. The
"Fantasie' was not so we'll done. Mr..
Oelschlagel frequently sharped his tones,
and the major intervals in the thirds were
sometimes ragged and uneven. Mr.. Han
sens work at the organ was done in his
usual masterful manner. His first number
was Meyerbeer's Coronation March" In
the storm Fantasia" descriptive Of par
ty of picnickers, the storm and the return
home, Mr.. Hansen tested the resources OF
Plymouth's big organ and had to respond
to two encores, playing BocherinfS
"Minuet' and Mendelssohns ever popular
Spring Song" In future concerts Mr. Ed
Nell, the clubs director, should give his or
ganzation at least eight numbers instead
of four. which last night made variety i'm
possible. Much is expected from male
chorus, and it should be given every OPP
portunity to bring out it's resources, which
so limited a programme cannot do.