The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1902-04-02
ORCHESTRA AND CHORUS
SECOND NIGHT OF THE SPRING MU-
SIC FESTIVAL.
diva Gries's ReteIIing of the Old
Morse story OF Olaf Trygvasson-
Miss Stein n Solofst.

Four hundred voices. the Chicago Or
chestra. Gertrude May Stein, contralto,
and Charles w. Clark, baritone. under
the direction of Theodore Thomas. present
ed a work Of two great men of Norway
-Bjornstjerne Bjornson and Edward Gries
in the second part of the music festival
at Tomlinson Hall last night. 1t was the
first scenes of "Olaf Trygvasson.' a dra-
matte poem written by Bjornson and set
to music by Grieg. Bjornson's life has
been parallel to Henrik Ibsen's, though
Bjornson has been at times as much of
an idealist as the Morse spirit will per-
NIT. He always has had the love of his
people, while Ibsen often has grimly and
gladly forfeited it in his attacks on nur-
tured institutions. In his legendary poem
of "Olaf Trygvasson" Bjornson describes
a crisis. Olaf had returned from England,
determined to throw down the old gods
of his people and set up Christianity. Be
fore his approach the village people as
sembled in their temples to pray the gods
to crush the revolutionist. 1t is this i'm
mense scene Grieg has interpreted music
ally.
After the first prayer of the populace,
one of its leaders, a woman. cries to 1t
" "a W us OIlc anu pIepdL0 sat-
rifces. She is an Amazon of the north,
and her voice is accompanied by shrill
and powerful notes. The high priest sup
plements her instruction. The ceremonies
develop until the worshipers are raised
to fierce exaItation in their confidence that
the gods have signifed that they will sue
c~essfully oppose the traitor Olaf. Mighty
paens of praise to tho war gods alternate
with tender and affectionate pleading with
the mother goddess that watches over the
children. Those ancient people of the cold
country held their superstitiOns In intense
love, and Grieg's music is of great force
and haring color.
Miss Stein. as the priestess, sang in love
ly voice. but she lacked a great deal of
the virility that should have burned in
her exhortation to her followers. She was
not a Morse woman of the twelfth CEN
fury; instead, she was a lyric singer of
this soft civilization. She had, too, some
trouble In enunciating the rapid phrases.
Mr.. Clark was similarly delinquent. No
command rang in his voice. the priest was
not worthy to stand by the imposing
altar.
The chorus admirably approx1mated the
vigor of the orchestra. Its attacks were
accurate. and when 1t caught the passion
ate swing that Mr.. Thomas led his mu-
sicians into. the voices came over the or
chestra with stirring intent and effect.
This work inspires the enthusiasm with
which most of Grieg's writings have been
welcomed, whether he has recast the songs
of the peasants or has interpreted the
broad sweep of national feeling. His style
is fresh and straightforward. and its pro-
auctions are celebrating.
In two milder ways Miss Stein and Mr..
Clark displayed their abilities to advantage.
Miss Stein sang Tsch~aikowsky's Jean
Dare aria. 1t is not a story of the
French saints great struggle, clad in a
mans armor and welding a sword at the
-
came as she stood at the stake with the
flames closing in upon her. 1t is rather
a meditation on her spirit. Miss Stein
sang IL with deep sympathy and fine, large
tones. 1t was much more to her scheme
than was the imposing woman of Nor
way.
tive aria from Massenet's "Herodiade."
II is charged with wistfulness and clear
delight and so Mr.. Clark sang it. 1t was
better work than he had done at any pre-
vious opportunity, indeed it was the best
opportunity he had had. He is a fine
singer.
chestra played a composition by another
FreEchman. Caesar Franck-the Moroccan
Symphonique," from the Redemption" a
quietly beautiful elaboration of a few sim
Antonin Dvorak is so eager a realist that
he has not been able to refrain from a mis-
sion TO America. He has not only advised
the development Of negro and Indian mel
odies into a national music literature, but
he has written a composition that ne thinks
expresses the American spirit. He was
represented on this occasion by his "Sla-
vonic Rhapsody No. g." colorful and active,
but not Of striking distinction.
The overture to Wagner's s~atirical opera,
THE MaStersinger,' was first on the pro-
gramme. In 1t the great German Snowman,
filled with his admirable self-sufficiency,
bid defiance TO tradition and the smaller
men about him. He produced, In this ma
1estic frame of mind, a series of music
dramas of natural form and supernatural
theme and left them for music lovers to
praise for their construction and melodies,
and. if they be rebels, to rail at for their
SNUG conventionality of meaning.
This closed the series of four concerts
that the Chicago Orchestra had planned for
this season in this city. The project was
not prosperous financially, but that is a
small matter in the campaign Of such an
organization as the Chicago Orchestra.
The advance of music meets as many re-
pulses as the advance of naturalistic phi
losophy, ir which it is so great a factor.
To be present at a concert given by the
Chicago Orchestra is an encouragement:
its maneuvers are so sure and free. Mr..
Thomas conducts with a dignity that has
always marked his course. His has been
a long life we'll laid out and now of fine
an Opportunity to new composers 10 lay
their work before the public. Any new
musical opinion, If worthily embodied. he
presents for his audiences consideration.
He is in good humor with the present as
well as the past. He knows that art is
long and he il receptive. He has won Sc
renity. Each time his orchestra plays IL
raises a monument 10 him.