The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1902-02-24
THE INNES BAND CONCERT

1nnes and His Band received an enthusiastic
welcome last evening at the Lyceum The
audience was thoroughly appreciative and in
slsteo upon many encores, which were cheer
Iully granted by the director His arrange
ment or the instruments on the stage is more
satisfactory than that Of many other bands.
the more prominent brasses being placed at
the rear While the wood wind Instruments
with their less insistent notes. are placed
nearer the audience. The band is very com
plete IN its scale of Instruments including
not only the kettle and snare drums. but a
me harp and two viols to emphasize the bass;
the 'chimes" and anvils also add to the
resources Of the organization
Inc program opened with the ''Triumphal"
overture by Rubinstein, introducing the Rus
elan national hymn, and music descriptive
OF the Crimean war, In which the rattle of
musketry. the booming of cannon and the
screaming Of the shells could be plainly
heard An encore brought an arrangement
OF American national airs including the Red
White and Blue" "Marching Through Geor-
gia' and Yankee Doodle each of which
was in turn greeted by applause from the au-
dtence. Meyer Helmund's ''Serenade Rocco
co.. an oriental composition, containing solos
by various instruments based upon a common
theme, was very enjoyable and secured an
encore. this time from 'Floro6ora."
Liszts Second Hungarian Rhapsody" and
Wagner's prelude to 'Lohengrin'' formed the
pieces de resistance OF the bands portion
of the program, the latter receiving a thor
oughly muscianly Interpretation. "Ronde
d Amour" by Westerhout, and prince
Charming" by lines himself, followed the
heavier number, and the latter was encored
vigorously. The last number was The
Blacksmith's Wedding" spectacular idyl'
by Innes, introducing the "serenade to the
bride" the "Mendelssohn Wedding March,
as professional and the "Lohengrin" as a
occasional the chimes for the wedding bells,
and closing with original number intro
duong eight anvils with eight musical" black
smiths, red lights, and enough electricity to
run a small thunderstorm.
Among the sooists Bohumir kryl was
lily first, winning many expressions of APP
probation and repeated encores by splen-
| did playing on his golden-throated cornet. His
program number was Russian fantasy with
variations, and for encores he gave some hn-
exhibitions of what different results might
be produced by his little instrument.
The vocal numbers included Braza's CAN
gels Serenade,' by Signora Adeie Borghi,
contralto, and scenes from Lucia, by Sig
nora Borghi, Miss Frances Boyden, sopra;
Edgardo Zerni, tenor and Achille Albert,
barytone, with band accompaniment. The
| scenes included the famous sextet, the
remaining parts being supplied IN the instru-
mentation. Miss Boyden's voice is high,
light soprano and flexible, but her execution
is hardly good enough to warrant her singing
anything so deliberately ford as Lucia"
Nine. Borghi was scarcely as happy in her
numbers as could be desired, and Signori
Zerni and Alberti were acceptable singers.
The sextet was rendered with spirit ana
was well received, the singers being recalled
two or three times. The vocai music was
all sung in Italian.
matinee was given this afternoon to
large audience and the engagement closes
to- night with really the best program OF the
| series.