The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1901-12-15
MUSIC EVENTS THIS WEEK
THOMAS oRCHEsTRA's FIRST CON-
CERT To-MORRow NIGHT.
TomIinsou Hall to he Decorated
and Specially Lighted for
the Occasion.

The Chicago Orchestra, under the dlrec-
ton OF Theodore Thomas will give the hrst
concert of its Indianapolis series of four in
Tomlinson Hall tomorrow night. The au-
dience will find the hall appropriately deco
rated and lighted. The seats will be so ar
ranged that there will be three broad aisles-
one in the center and one on either side under
the balconies-and these will be carpeted
for the protection OF women's gowns. and
it is intended too. that they shall suggest
promenading during the concerts intermis-
sion.
Two of the compositions on the pro-
gramme are labeled by request They are
Richard Strauss tone-poem. ION the
Shores of Sorrento and Mr.. Thomass or
chestration of Frederick Chopin's Funeral
March" The orchestra played the Chopin
march here last season, and Mr.. Thomas
was so pleased with it's effect on the audi
ence that he complied with the applause
and repeated it as an encore IL is seldom.
indeed, that he will consent TO an encore.
Bruno Steindel will be the soloist at this
concert. He will play d'Albert's concerto
for violoncello, Opus 30 Mr.. Kramer, the
concertmaster, will take the violin solo in
the Suk suite
The concert will begin with Schubert's
fiat march. il is the first OF his six
Grandes Marches" The second number
will be Josef Suk's suite. Elm Maerchen."
in four parts. Suk is only twenty-eight
| years old and is the son-in-law and pupil OF
Antonin Dvorak and is the second Violinist
| i'm the Bohemian String Quartet at Prague.
| RMS composition is a fairy tale, called in
| the Bohemian "Pohadka" Mr. Steindels
solo will follow this and then will come the
intermissicn.
The second part of the programme will
| open with the overture 10 Weber's
| "Oberon." The following description OF il
is from the programme: Softly sounding
| through the surrounding silence we hear
| the long-drawn notes of Oberon's horn.
| the potent spell by which all the magical
| entertainments In the opera are conjured
| up. Elfin forms fit through the foliage.
| The fairy dance ends in a gentle sigh OF
| love. Here we meet with one OF Won
Weber's most charming and original or
| chestral devices. This tender love melody
is harmonized in three parts the upper
| voice being sung by the violas and first
| 'celli in unison the middle voice nv two
| clarinets in their low chalumeau register.
| and the bass sustained by the second 'celli.
| Nothing could be simpler and vet the effect
Is utterly without parallel In orchestra
| uon. Then comes a sudden crash of the
| whole orchestra-the most sudden. least ex-
| pected, loudest sounding crash in all
| orchestral music. 1t is famous everywhere.
| il has probably given rise to more comic
| incident, in thus bursting upon the un-
| prepared ears OF the audience, than any
| OlitI Single passage III all orchestral
| music: And, curiously enough, il never
| loses its magic; every time you hear IL, il
| sounds louder and more tremendous than
| the last The ensuing allegro con fuoco
| begins with very pleasing rapid figure for
| the viOlins, an idea delightfully."- fresh and
spirited; The second theme of this allegro.
| first introduced by the clarinet and then
| taken up by the first violins, is the melody
| OF Sir Huon's love song. The brilliant
conclusion theme is taken from the final
| stretto OF Rezia's grand scene, 'Oceani
thou mighty monster"
The other three numbers will be the
Chopin march. the Strauss tone-poem and
| Mr.. Thomass arrangement of fragments
| of Wagner's THE Rhinegold." This ar
| rangement was made by Mr.. Thomas last
summer. The programme says: The score
| is one of great magnitude, embracing prac-
| tically the entire action o. the music
| drama through the presentation OF all the
| more important scenes in the order in
| which they stand i'm the original. Begin
ming with the wonderful prelude. which
| transports forthwith TO the depths of the
| slowly flowing Rhine. We pass on into the
first scene, commencing with the seduc-
tive song Of the Rhine maidens and ending
| with the vision of Walhalla; thence through
| the various subsequent scenes. descend
ing with Wotan and Loge into the cavern,
| where, by virtue of the power of the magic
ring, which he has forged from the Rhine
gold. Alberich rules over the Nibelungs-
| one of whom, Mime. he has forced 10 forge
| for him the 'Tarnhelm which makes its
| wearer invisible: and finishing with the
| magnificent finale-the rainbow scene and
| still fresh in mind. from it's recent per-
| Torrance at one of the closing concerts or
| last season. The singing parts Of the orig
| inal score are In the main preserved in this
| arrangement being carried chiefly by va
rious small wood winds-hutes. oboes and
| clarinets; the lament OF the despoiled Rhine
maidens will be heard in the muted trump
cts, accompanied by the harp and the
| strings niZZiC4