The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1906-12-31
TILE SECOND "PoP" .

Minneapolis likes her Symphony or
t ehhestra, but more than al she likes
on alternate Sunday afternoons, If
there could have remained any doubt
OF this at the first Sunday concert, it
certainly, fed yesterday, when the Au-
ditorium was filled with discriminate
ing and appreciative audience. These
popular concerts, after the obvious evil
established. At every performance The OF
chestra seems to be playing better, with
a nero musicianly feeling, with great
er finish and in better style. The pro-
gram a9l opened Yesterday with the mar
unger, by :Kretzchmar. It was played
with much spirit and verve and it's
blare Of trumpets, mellowed with the
strings, gave an effect of pomp and
"Oberon" is always fetching con-
cert number, and SO it proved yester-
day. Tho the opening is sometimes
taken at little faster tempo, no one
could quarrel with Conductor Emil
Oberhotfer, who, by this slower move
ment, gained splendid contrast with
cially evident in this number were the
delicacies Of phrasing and subtle shad-
ing which the orchestra has acquired
by arduous rehearsal. - =
The two Handel numbers, the pastor
ale from the Messiah, and the soulful
largo from "Xerxes,'' were exceed
ingly we'll received Commentator of
the last part Of the pastorale should be
9natT and detX bp gsd
organizations might envy. A. B. Mar
shall played the organ accompaniment
for the largo and a beautiful ensemble
was thus secured by the orchestra, the
organ and the prominent harp accompa.
niment - So. ~
Saint saens' striking ttDanse Ma
cabre,o with it's fantastic melodies and
creepy modulations, was given good
Teadi3g BY the orchestra The xylophone
effect and Frank DAM, who played the
the very tone. - Rondo glamour, - by
lowed the Saint Saens number. Was in
delightful contrast. In its delicate lit
tie melody it was pleasing and the odd
turns of the accompaniment were al
most ravishing. It seemed to embody
the gf dane and produSsd sort
where the muted violins carried the
melody against a bass Of. saxophones
mellowing to the bass strings, was en-
trancing. The favorite double Schu-
mann number of ''Traumerei and Ro-
manza'' for the strings was a pure
delight. .s'~
The program closed with Grieg's
Norwegian Bridal Procession and the
g Malaguena from "Boabdil,' by
Moszkowski, played in the same mas
predecessors -
CLARA Williams, the popular Mime.
apolis. soprano, was the soloist for the
occasion: The purity Of her voice and
were " shown how mn in the first number; IT
Handel. A sympathy and a certain
poise made her reading Of the familiar
aria most enjoyable. Every moment
one felt that the singer had the song
we'll in hand, that she was, in a word,
mistress OF the situation. The or
ehestra ae;eompanied her without fault.
greatest success with her last number,
where in Rose, Softly Blooming" the
aria from Spohr's HAzor and Hemira, -
she found a quaint melody and an ap.
peal which displayed. the beautiful
HsoIveig's o Songs Son '''1 from ipnn'sesHi1 Peer
Gynt,O'' by Grieg, Miss Williams found
in color and meaning an admirable We
hicle. The northern melancholy Of the
nasL and the pathetic, # inarticqlate
Williams reading. She was warmly re-.
called on both numbers and repeated a
portion Of the second. ID. H. r.