The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-12-13

Correspondence OF the indianapolis Journal.
NEW YORK, Dec. 12.-After the violin
lists, the pianists. These letters have re-
corded the successive appearances in this
seasons orchestral concerts of Messrs.
Thi5aud, Arbos. Banner and Grasse. and
note is now to be made of the concert-play-
ing in Carnegie Hall within the past few
days of Mesdames Bloomfeld-Zeisler and
Aus der Ohe and Mr.. Bauer.
XXX
Nine. Observation-Disclosures was heard in Ed
ward Greig's A minor concerto at the New
York Symphony Orchestra's second Sunday
afternoon concert. She played this work,
which is informed of the cold solendor of
the northern sky. with her accustomed
startling vigor and admirable authority,
and at its end a great storm of applause
broke over her bowed head. 1t was an ex-
traordinary demonstration of enthusiasm
aroused by mastery musical performance.
Nine. Bloomfield-Zeisler has since given
two recitals at Mendelssohn Hall; she is
established in high place.
The orchestra, under Mr.. Damroschs di-
rection. had besides its part in the concerto,
the accompaniment 10 two pieces for vio-
loncello. played by Mr.. Schulz. and
Brahms's third symphony and a compost
ton by Georg Schumann. entitled 'Varia-
lions and Fugue on a Merry Theme" The
last number had never before been played
IN America, and 1t is probable that no de-
nand ior It's repetition was created, for it
is comic music of the most dismal kind.
The orchestra's third programme was
made TO celebrate the hundredth anniver-
sary of the birth of Hector Berlioz; selec-
and BENEDICT, THE Damnation of Faust"
ana the Harold" symphony were played.
XXX
Tschaikowskys G major concerto was the
medium of Nine. Aus der Ohe's advent at
the second public rehearsal and concerto of
the Philharmonic Society's present series.
The composition was first played in Amer
lea at a Philharmonic concert on Nov. u.
1881, when Theodore Thomas was the con-
ductor and Nine. Madeline Schiller the
soloist. 1t is not a part of Tschaikowsky' s
best work. but it's melodies have some of
the composers charm, and Nine. Aus der
Ohe sounded them to the best advantage.
The conductor was Gustav Kogel, of
Frankfort, a solid interpreter of the Ger
man idea. So directed, the orchestra gave
q frm and accurate performance of the
fifty symphony of Beethoven, that grandly
beautiful compound of terror and triumph.
In violent contrast the programme also in
cluded Richard Strauss It'll Eulen-
spiegers Merry Franks" The connection
was almost blasphemous. Persons that
have studied the mechanics of Wagner
were interested in Mr.. Kogels reading of
the prelude and finale of Tristan and
Isolde" Mr.. Krehbiel, who writes the pro-
gramme notes for the Philharmonic con-
certs, reprinted Wagner's comment on the
legend. and this paragraph seems a concise
expression OF the composer-dramatists con-
ception of life:
THE musician who chose this theme for
the prelude to his love drama, as he felt
that he was now In the boundless realm of
the very element of music. could only have
one care; how he should set bounds to his
fancy. the exhaustion of the theme was i'm
possible. Thus he took, once for al, this
Unsuitable desire. In long-drawn accents IL
surges up. from its first timid confession,
its softest attraction, through sobbing
signs, hope and pain, laments and wishes.
delight and torment. up TO the mightiest
onslaught, the most powerful endeavor to
find the breach which shall open TO the
heart the path to the ocean of the endless
joy of love. In vain! Its power spent, the