Evening star., 1900-10-04
THE WORCESTER FESTIVAL
INTEREST IN CESAR
FRANCK,s "LEs BEATITUDEs.v
The Work Given an Adequate Setting.
but It's Future In Doubt
Other Features.

The forty-thrd annual Worcester Festival
last week displayed to q remarkable degree
the wonderful vitality of this ime-honored
| institution. 1t has kept pace with the
marked development of musical knowledge
and taste in this country and this year
showed itself in the very front of musical
progress
The forces gathered together are most
comprehensive; chorus Of 400 an orches-
ira of sixty and twelve soloists, selected
from the best available concert singers,
make up combination from which the best
results are possible. They are all under the
control of the conductor. Mr.. George w.
Chadwick of Boston, with whom Is asso-
ciated Mr. Franz Kneisel. well known In
Washington as concert master OF the Bos-
ton Symphony Orchestra and first violin OF
the knesei Quartet. There are altogether
seven concerts, one each night. from Tues
day to Friday, and one each afternoon
from Wednesday to Friday. Then the real
ly conscientious attendant goes to a public
rehearsal each morning as well. so as TO be
more ready to appreciate the formal rendi-
ton of the works. 1t Is musical FEAST
plentiful enough to satisfy the most hungry
soul. And a rich and varied feast as WELL
for three concerts are of elaborate works
for chorus soioists and orchestra. three are
for orchestra with both vocal and instru-
mental soloists. and the last rich melange
of varied solos by the chief stars, separate
orchestral pieces ana one dlSnned cOmpOSl-
ton closing the festival in which the cho-
rus sings I'VE Praise Thee, o God"'
The Choral Competitions.
In the choral compositions a cosmopoli-
tansm enthusiastically American was
shown. These were the Golden Legend
of the English Sullivan, the Requiem Of
the Austrian Brahms Les Beatitudes'' of
the Belgian-Frenchman, Cesar Franck, and
the ''Te Deum'' Of the great italian master,
Verdi The chief interest of the festival
centered around Les Beatitudes. Cesar
Franck. its composer. lived uneventful
life in Paris as organist, composer and
teacher of organ playing in the Conserva-
toire Such appreciation as came to him
from limited circle of friendly spirits con-
tented his modest soul, and he lived in
happy repose, composing works In large
and small forms with but moderate meas
ure of public renown. 1t is now ten years
since he died, and a school of ardent wor-
shippers In France has spread his name
throughout the world, occasionally, as so
often happens when partisanship is aroused.
raising fear that position may be sought
for him as far above what he would him
self have justified as his actual esteem
while living fell below his true merits. Les
Beatitudes is his masterwork, but ii had to
await his death for a public performance,
though he lived ten years after it's compile
ton. 1t was first heard in America last
winter In New York, when given by the
Iiederkranz (and. most curiously then in
Germany, and this Worcester presentation
was Its first performance anywhere in Eng
lish, the translation having been made for
this occasion That it Will be heard many
times cannot be doubted. Handicapped by
feeble poem, the composer has created a
work which makes a deep impression on
every musical listener 1t needs first of all
an adequate orchestra, and this was sup
pied by the Nlrtuosi of the Boston Sym
phony Orchestra, who took part here. The
composer has marvellous command of all
the modern orchestral resources. and the in
StrumentS speak in a thousand combfna-
tions. His tone coloring embraces all pos
sbe shades. yet his treatment of his sacred
subject never loses dignity in striving for
mere effect. He the chorus with free
dom, requiring their best effort, vet keeping
within the limits of true choral singing and
he brings chorus and orchestra into tre-
mendous climatic combinations, thrilling
and overwhelming
Seven soloists singing separately and in
combination with each other and with the
chorus, complete the varied resources Of his
composition. Yet, perhaps, the finest effect
produced in all the work Is after the COM
bat In which all take part, between forces
terrestrial and celestial, when the voice of
Christ in simple and suave melody pro-
nounces at the close of each Of the eight
parts His blessing on those who walk in
His ways.
There can be no question Of the great in
terest and fmpressiveness Of the work: what
remains for the future to decide is whether
1t has the real inspiration of deep creative
genius to give 1t a permanent hold on the
musical world or is no more than a remark
able masterpiece of a highly talented. ac-
ccmplished and learned mind.
The German Requiem Of Brahms Is a work
about which no such question need be
asked The best thought of the critical
world has declared its position. but its aus
terity is such that much progress must he
made in musical culture before a general
public will be found which can appreciate
It's greatness and give 1t its place beside
such works as the Bach Passion Music"
and alf lob ~ De-.
D major.
The SoIoists.
The soloists were Mime. Lillian Blauvelt
and Miss Sara Anderson, sopranos; Nine.
Ernestine Schumann-Heink, eiaborately de-
scribed as meZzo-soprano contralto; Miss
Gertrude May Stein and Miss Jean Foss,
contraltos; Messrs. Evan Williams, E. c.
Towne and Theodore Van YORK, tenors.
Messrs G. Campanar, Julian Walker and
Cottlow, pianist. Nine. Schumann- Heink
evoked the chief interest. She sang at one
concert a fiorid aria from Mozarts little
known Titus" chiefly TO display the un-
equaled range of her voice, as we'll as its
fexibilty, Schubert's "Allmach.'' and the
drinking song from the opera of "Lucrezia
Borgia, each In its appropriate style and
each with the highest art, feat hardly to
be equaled by any singer of the day Three
more dissimilar compositions can hardly bs
imagined, but her hearers were left in
doubt In which this remarkable woman
was most to be admired. OF the others Miss
Anderson. Miss Stein, Mr.. Towne and Mr..
Walker will all be heard with the Choral
Society in Washington this winter and will
doubtless repeat the favorable impression
which they made In Worcester.
The festival Is always a gathering place
for musicians and musical critics from all
| over the country. Representatives of mu-
sical societies from Portland, Ore, and
Louisville, KY, were there, as well as from
the New England cities Mr.. H. Z. Kreh-
tiel Of the New York Tribune, Mr.. James
Huneker of the Musical Courier, Mr.. Fred
erck r. Burton of the New York Times
and Mr.. Philip Hale of the Boston Journal
represented the critics. Rev Frank Sewall
also of Washington was in the audience, as
were Mr.. Chas. Louis Pollard and Mr.. VIM.
Bruce King of the Choral Societys board
of management, and Mrs. King. Doubtless
the result Of their observation will appear
| in the future work of the Choral Society.
Whether the devotion of the entire mu-
| steal interest OF a city to a single weeks
work each year makes for the best musical
culture of the city may we'll be doubted.
The same amount of labor bestowed on
concerts scattered through the year prob
| ably results in a more continued apprecia-
| tion of the best music and the cultivation of
| a musical habit of mind, Worcester does