Washington standard. [volume] (Olympia, Wash. Territory) 1860-1921, 1901-02-22

49, the kindred instru- NS
A ,nents occupied the sx1
lett OF the stage the comets and leading
brass horns the right. the trombones in
their rear and the heavy base horns and
drums the center and rear. The front
instruments formed Il semi-circle. in the
center OF which, on an elevated platform,
stood Sousa, the knight of the wand. by
whose magic the machine Of many parts
/ Is controlled, tn" move of whose arm. or
the wave OF whose hand gave tone to
each part, Voice to each instrument and
expression TO the whole, alike when uni
ted IN gentle ripples of melody or in a
perfect clash OF ma este harmony.
The very pauses which intervene, al.
ter the great maestro takes his stand on
the throne where he is indeed monarch
with scepter in hand, until it is raised in
command, is suggestive of harmony.
As he stands with baton erect there
steals upon the ear 4 gentle reverbera-
ton in the distance which may be lik-
ened to the soughing of the wind in n
dense forest; slowly the rod descends
while the tumult breaks more distinctly
on the ear; then as the directors arm
describes various eXcentric and concen-
trio angles and parabolic curves comes
the darkening cloud and the faint roar
of the tempest, followed by the flash
OF lightning and the crash of thunder,
and the storm finally breaks in all its
majestic fury, while the audience holds
its breath in spell-bound admiration
of the mimic display. Now a liquid
stream of melody runs the length of the
reed instruments, leaps over the conju-
ror's head and tangles up in the snarls
of the comets, makes a circle of the
French horn, is held in close embrace
and thrown to arms length by the
graceful trombone, caroms on the sax
horn, and is finally lost in succession
of profound bubbles as it sinks in the
depths of the wide-mouthed ophicleide.
During this time spray from a stream
of liquid melody has been pattering on
the kettledrums and awakening gentle
vibration in instruments of lesser note,
metallone. But this is all prelude. The
maestro now warns up to the work.
He throws a smile OF recognition to his
left, and the reeds break forth into won
derful trills of melody; ta-ta to the
brazen-throated division on the right
and they Immediately peal out ravish-
ing concord OF harmony; bow to the
deep-throated and heavy-chested throng
In the rear, and they pulsate with
grandeur of rhymetic sweetness that en-
chants the senses while a wave to the
.tnesse division brings out all the orna-
mentations which serve to embellish the
artists work and pail the senses with q
profusion of charms, like the addition OF
fragrance to the full blown rose, perfume
to the lily, the sparkle to the wine, a
blush to the cheek of beauty and the
glance which gives expression to words
unspoken from lovers eye.
But this is but the preparation for the
fray. The hearers ear now catches the |
notes Of martial music. 1t pictures to
the eye the advance of hostile legions.
They advance with measured tread to |
one Of Sousa's own inspirations; they
meet amid the clash of musketry; they |
struggle with the desperation which |
shows it to be hand-to.hand conflict;
the shouts of triumph. the groans of de-
spair, the arrival of reinforcements, the |
revival of hope and final repuse of the
enemy, are all voiced to the imaginative |
heart by the majestic harmony that as
sails and captivates the ear under the
sometimes vigorous, but always grace |
full, gesticulations and genufections of
the controlling spirit-and we are back |
to where We began, the wonderful
Sousa. With the concluding strains,
the olive branch becomes visible to the !
eye as ear catches strains of melody !
which breathe peace on earth and good |
will to man, and the notes of the thrush |
and the robin are mingled with the har-
mony that trembles on the reeds as the |
maestro steps from the platform amid
thunders of applause.