The times. [volume] (Washington [D.C.]) 1897-1901, 1901-01-14
sousA's CONCERT LAST NIGHT.
An Overlooking Audience Greets the
Washingtn Bnndmnster.

Washington looks upon Sousa and his
band much in the nature of home insti--
tuition, and an audience that packed every
portion of the National Theatre last even
ing gave the bandmaster and his musi-
clans a rousng reception. The organize
tfon was in excellent form, and the differ
emf numbers of the programme were rem
dered with the Tilt and swing that have
made the Sousa concerts so enjoyable.
The type of music known as the 'popu
lar predominated the programme and
proved to be the more pleasing, If the
amount OF applause these selections
called forth may be taken as criterion.
Sousas recent European trip has added
several new mannerisms that will give his
vaudeville imitators a good deal of trout
BILE in portraying accurately. Once, he
stretched his hands in front of him and
held them in this position for a moment,
gently moving them up and down just a
trffe He has also acquired a new move
ment with arms outstretched from the
side essentially Bunthorne pose bu.
suggesting to the irreverent mind the
stretch of a person Just awakening from
a sound slumber.
The one novelty of the concert was the
playing of a new Sousa march always
matter of much interest to local admirers
newest addition 10 the imposing list of
marches that have won for the Washing
tonian the title of the March King" is
called Hail to the Spirit of Liberty, and
was first played last summer at the Paris
Exposition. II possesses much of the eX-
hiliarating qualities OF some OF its pre-
decessors in the domain of the two-step.
and will doubtless become popular after
a few rehearings. The rendition Of the
m I'M 10
up rising of the brasses, their lineup
along the footlights and the stentorian
assault upon the ear drums of the audi
tors who evidently thought The Spirit
of Liberty about the proper thing, for
they applauded with such Zest and stead
fastness of purpose that a second and
third performance were necessary.
The soloists were Arthur Pryor, who
plays love songs on his slide trombone;
Miss Blanche Duffield soprano with
pleasing voice, and Miss Bertha Bucklin.
a violinist The programme included
three or four of the Sousa marches that
have been populariZed in past seasons,
and which we're last night introduced as
encores. Mr.. Pryor played When ! Talks
With Lucy and 81 Don't Know Why |
Love You" in response to the approval
OF his trombone solo. One Of the most
enjoyable numbers of the eyening-and
this, too, was an encore-was the seXtette
from Lucia" performed by a trio of cor
nets, two trombones and an euphonium.
The programme was as follows:
Overture isabella .......................S uppe
Trombone solo, THE Patriot Pryor
Mr.. Arthur Pryor.
Ballet suite The History OF Pierrot,
Mario Costa
Soprano solo "Whera Is Love- .............S ousa
Miss Blanche Duiiied.
Grand scene ''Oh, Fatal stone (-Aida''),
Verdi
Invitation q Ia Vaisc" ...................We Weber
(a) Dcrvish chorus In the Soudan'' ..... .Sebek
Do March, "iIail TO the Spirit of Liberty
Sousa
Violin solo "Adagio and Motto Perpetum'. .Ries
Miss Bertha Bucklin.
CZar,las glitter Pasman ....... johann Strauss