The Minneapolis journal., 1902-04-03
..THE CREATION" SUNG

Haydn's noble oratorio, 1.-The Creation"
was magnifcently rendered at Wesley church
last evening by the Philharmonic Club under
the leadership of Emil Ober-Hoffer. 1t was
indeed a fete occasion, and musicianly Mime
apolis was out en- masse to hear the produce
ton. The church was literally packed with
splendid auditnce that filled every pew, occu-
pied all the steps, stood throughout the long
evening around the rear Of the auditorium,
and overflowed into the Sabbath-schoo1 room,
even occupying the entire gallery in the an
mex 1t was such an audience as puts life into
a conductor and electriies the soloists. and
its enthusiasm communicated itself to all the
musicians, bringing its own reward in such
music as one hears rarely enough.
Emil Ober-Hoffer. the conductor, had
brought all his energy and ability to bear
upon the single effort to give Haydn's mas
terpiece fitting Interpretation. To this end
he had spent weeks of patient work with the
singers; had gathered about him many Of the
best instrumentalists in the city to form an
orchestra adequate for the occasion; and had
secured good solosts to interpret the three
roles of Raphael Uriel and Gabriel, and later,
in part third Of tho oratorio, Adam and Eve.
'The Creation" like It's prototype, THE
Messiah is a monumental work, abounding
in recitative and descriptive composition, and
affording the finest opportunities for the skill
full conductor and for adequate soloists. The
worlds genesis would necessarily be a theme
of the greatest magnitude, and that Haydn's
work lives to-day and is capable Of arousing
such intense enthusiasm and appreciation is
proof of it's Inspiration and the apology for
the fame it brought Its composer.
OF the work of the club itself it would be
difficult to spaek in terms of too high praise.
1t was case of every man, and woman too,
doing his duty, and keeping In the closest
touch with the conductor. His everv move
seemed almost anticipated The result was a
unity Of voice and attack that was well nigh
perfection. 1.-THE Creation has many times
been given by larger choras, but it. is very
doubtful whether the effect could have been
better. The volume of sound was entirely
adequate for the most tremendous Of the cho-
ruses, and yet 1T was easily controlled and
finely shaded throughout The balance Of
parts was much better preserved than on the
occasion of the last concert. The choral ef-
fects were certainly wonderful, but nowhere
more so than in the most famous of the Gre
alton" choruses, "The Heavens Are Telling, !"
which closes the first part.
OF the soloists. Joseph Baernstein. basso,
who took the part Of Raphael, easily carried
of first honors. His voice is of wonderful
tin,bre, clear and resonant. of immense vol
ume. and yet SO flexible as to be easily con-
trolled. He sang with splendid enthusiasm
and was remarkably sympathetic, singing al
recitative he was especially effective. and in
the famous air, Rolling in Foaming Billow,"
the enthusiasm broke all bounds and he was
obliged to respond to an insistent encre. In
the second part a large share Of the work falls
upon the basso. the recitative. "And God
Said,' followed by the aria, "Now Heaven in
Fullest Glory Shone," were sung with
breadth of style and dramatic power that
bespoke the consummate artist and the master
vocalist.
Miss Electa Clifford, of Chicago was the
soprano soloist of the evening. She is a
woman Of magnificent physique and presence
and scored a decided triumph. AS some one
has said, "Oratorio singers are born not
made" Her voice is a pure high soprano Of
decided brilliance and yet Of flute-like quality
While the middle and lower registers are
often inadequate, 1t is in the technics Of the
upper register that Miss Gifford's star shines
resplendent. Her voice is,-remarkable for it's
1exibility and brilliancy and was especially
beautiful in the noble there, ''With Verduro
Glad
The third soloist was Theodore Van YORK
OF New York, a tenor whose voice seemed
more purely lyric in character than might
have been desired In an oratorio singer. His
work was, however. remarkably artistic al
though at times his voice seemed of scarcely
sufficient volume to meet the demands made
upon it. His most effective number was the
recitative '.In Rosy Mantle Appears OPEN
Ing the third part Of the oratorio,s and in the
aria I'm Native Worth
The trios sung by the three soloists were
especially effective and sung with fine spirit,
and nowhere was this more true than In the
interpolated passages in the final chorus Of
the first part.
Too much praise could scarcely be given the
orchestra, which played con anore following
Mr.. Ober-Hoffe closely, aud with the true
artistic sense. The three gintrodnctions TO the