The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1900-05-20
A GREAT MUSICAL TRIO
PETsCHNIKOFF, HAMBURG AND La
CHAUME TO BE HEARD.
Amphion Clubs Concert mt Tomlinson
Hall wednesday Nfght-Oth-
err Musical Events.

The programme to be played by the three
great artists, Petschnikoff Hamburg ana
Lachaume, at Tomlinson Hall next
Wednesday evening, Is one of rich ana
varied interest, well calculated to appeal
to all who care in any way for music
Public interest probably centers, however,
fl the celebrated Sonata in e major. .Op.
AZ, of Beethoven, commonly called the
Kreutzer Sonata on account Of its dedica-
ton and made a familiar name to the
whole reading world through Tolstois
famous novel of the same name. The SON.
atlas for plano and violin Of Beethoven are
a veritable treasure house of rarest musi-
cal gems. Unfortunately. they are COM
paratively rarely heard in this country,
as they require the highest artistic ripe
ness and sympathy Of Interpretation from
both performers. The Kreutzer Sonata Is
probably, taken as whole, the most beau
tiful and elevated of all these noble COM
positions and to hear 1t performed by two
of the greatest living masters of their re-
spective instruments, Petschnikoff and
Hamburg, will be a privilege and de-
light to be remembered and lived over for
months and months to come. Another num-
Der in which the pianists and piano stu
dents Of the city are particularly interested
is the Dance Macabre' of Saint-Saens,
that weird, uncanny orchestral picture
transcribed by the author himself for two
pianos. 1t is a common phrase nowadays,
often used indeed, without due considera-
ton, that the piano is being exploited by
modern virtuosi with their heaven-storm-
ing technic as almost substitute for the
orchestra. 1t is undoubtedly true that
the piano is capable of achieving a far
larger number of varying musical effects
than any other one instrument and II Will
be of great interest TO see how nearly two
pianos played by two consummate artists
can approximate the weird colors and
somber fury of Saint-Sanes's characters
tic tone picture. One may feel sure that he
Will hear the ultima thule in the exploit
tation Of the resources Of the piano-forte.
The solo numbers of Messrs. Petschni-
kof and Hamburg are also replete with
intense interest. Mr.. Hamburg contributes
several numbers of Chopin, a tarantelle by
his master, Leschetizky, and above all
else, Grieg's powerful and almost grue-
somely somber Ballade, which consists Of a
Norwegian folksong and variations. The
melody itself is full of the tragedy and
ruggedness of the north. 1t has in it all the
struggle of an fndomitable race with the
tireless cruelty of the elements and the
recalcitrance Of arctic nature. 1t is pessi-
mistic melody, realistic melody, and Grieg
throughout his variations sounds every
depth Of the emotions which the melody
suggests; listens to the heartthrobs of the
people from whom the melody sprung and
weeps. RACES. laughs, woos and renounces
with the rude but indomitable race spirit
peculiar to his people. They are not varia-
tens in the ordinary sense of the term.
Il Is more a musical transmigration in
which the flavor of the theme, the thing
itself passes from incarnation to incarna-
ton, each time showing a different side,
but always remaining itself. Grieg has
written nothing stronger and more virile
than this Ballade and at Mr.. Hambourg's
hands there is no danger of its failing to
receive an intensely virile and forceful rem
dition. Mr.. Petschnikoff will play the great
Fantasia Appassionata of Vieuxtemps and
several shorter solo numbers, including the
beautiful Swan melody of Saint-Saens,
Ruegger at the final Symphony Orchestra
concert. Nor must mention be omitted of
the Introductory number by the Amphion
Club, under whose auspices the concert is
given In response to many requests the
club will repeat the brilliant and captivat-
ing Saltarele of Saint-Saens, which
aroused such enthusiasm at the clubs Sec
ond concert 1t is one of the most daring
bits of bravoura composition for male
chorus extant and the fire and swing with
which it was given by the club will be
fresh In the minds of all who were fortu-
nate enough to hear ii. This concert will
| indeed prove veritable May festival even
| If for only one night, for the interest that
| society people are taking in it and the al
most phenomenal advance sale already in
| dicates that.
| The following are the programmes to be
| given at the May festival under the au-
| spices of the Commercial Museum and Au-
| ditorium:
Tuesday. May 49,
| OVERTURE Auber
Indianapolis Military Band Orchestra; Mr..
| Harry W. Klaussman, Conductor.
| Solo-"A Song of Thanksgiving" -. Allison
| Miss Lulu A. Fischer.
| a. March-"Ambia". Patter
| b. "Baniten Strike" ..................Do Dolby
Boys Brigade Band; Mr. L. E. Peck, Con-
ductor.
Mr.. Frank Taylor
! Violin-"Scherzo" ........ Razzin
| Miss Bertha Schellschmidt.
Mrs. Ida Gray Scott. ~
| Cello Solo ............................
Mr.. Igleman.
Selection-"Carmen' .Bizet
Orchestra.
| "Wednesday, May 3d.
| Military Fantasia-"From Fireside to
Battlefield" Dolby
! Indianapolis Military Band. Mr.. Harry W.
! Klaussman, Conductor.
| Dixey :........................ Dan Emmett
| Children's Chorus; Mrs. Alice Fleming
Evans, Director.
Solo-"On, Away. Awake My well-be-
loved from "Hiawatha's Wedding
| ACKNOWLEDGEMENTS. S. Coleride Taylor
| Mr.. Benjamin F. Miller.
| Quartet-"Holy City, .................G aul
Mrs. Lottie Adam Raschig Mrs. Alice
Fleming Evans, Mr.. Benjamin T. Miller,
Mr.. Louis J. Dochez.
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