The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1912-02-29
4 LARGE AUDIENCE
GRtETS ORCHESTRA;
SPLENDID PROGRAM
Second of Series of Concerts
by Richmond's Famous
Musical Organization a
Great Success.
CONTINUED from Page One.)

anC colorful score-it possessing that
degree Of dazzling color called in the
srt OF painting "hot"--f0r 1t should be
remembered that Carmen" treats Of
material passions, Of violent. uncurbed
and primal animal emotions-that nei-
Their the story as originally written by
the French novelist, Merimee. nor that
included In Bizet's score Ia either mys-
tic or symbolic. That Bizet cOmprehen-
dec this and that 1t was, in short. his
inspiration, 10 the explanation of the
popularity and appeal OF the opera s
score. There are no anachronisms be-
tween the story and it's musical inter
probation.
Mr.. Earharts reading was tempered
by these considerations OF origin
and motif and the orchestra's interpre-
tation was, therefore, convincing and
realistic.
The Colder Passion.
Admirably juxtaposed TO the sensu-
ous Bizet musician exposition OF the
passionate South. OF the loves and
hates of the Latin races-was the
Suite from Greig. symbOlizing the col
der passion of the North, but it's great
er emotional depth.
This was Greig. however in his ligh-
Ger musical manifestation, displaying
oil that exquisite fragrance. IL 1t can so
be put, and rather hOneyed rOmanti
cisnl, tineed with the inevitable melan-
ChCly Of the Scandinavian, which con-
stitutes Greig's more obvious appeal
this being In greater evidence in the
second movement introduced by the
ti,npani. the basses and the cellos, the
strings carrying the melody. the
smoothness and flexibility OF the
strings being admirable especially in
the delicate pianissimo. The brasses
Introduced the impressive third and
last movement. March of Homage
with the violins carrying the melody.
In this number the achievements of
tho orchestra were heard to superior
adyantage. since both in pianissimo
and fortissimo the effects were slight,
delicate and requiring much dextrous
handling of the instruments and a
constant attention to the ensemble.
And 1t Is in the ensemble that the
orchestra shows marked advance
that French phrase used sometimes
IN combination sometimes alone and
fer which there is no nearer English
equivalent than the awkward "alto-
gether"-the smoothness Of its Arst
and second violins being especially no
ticeable. although in its more compre-
hensive inclusion--and the Anal test
Of orchestral efficiency that of the
blending of all the instruments into
one tonal whole-it is making rapid
progress.
" The more canny appreciation Of the
finer harmonic nuances was also no.
ticeable.
Hubert Smith soloist.
Mr.. Hubert Smith, the young and
talented player Of the violoncello who
came down from Chicago, where he ia
studying under one Of the masters Of
the instrument In the Thomas orches.
tra, was the soloist for the evening
and was accorded overwhelming ap.
plarse after the admirable presenta'
tlOn Of an arrangement from "Tann.
hauser." for the cello.
The cello. the most appealing of the
etringed instruments In solo has, per
haps. less adaptive music written for
Il than any other. but in a composition
of the class as that from the Wagner
ien opera It 10 heard with tremendous
iunrressiveness.
Mr.. Smith interpreted with much
mtlsical eclat and astonishing musical
proficiency for an amateur Of his years
his purely technical achievements-as
IN his harmonics, as a certain manipu
lation Of the strings in what might be
called the cellos upper register" IL
termed. which were beautifully clear
and In his admirably sustained highe,
tones.
The purity and richness Of his tonal
quality were heard to best advantage
IN the familiar "Oh, Thou Sublime
Sweet Evening Star."--a fine interpre
t&tion Of bit of descriptive music. ol
which Wagner 10 tho great master
And Wagner's mysticism. too. wal
Heard in Mr.. Smiths presentation.
Altogether 1t was delightful perfor
nance and one upon which the youth
ful musician Is to be congratulated
sNmbining technical proficiency with q
psychic appreciation Of the composer
meaning.
Smith Gives Encore.
For an encore Mr.. Smith gave the
'Herceuse from Joclyn." by GODDARD
with . certain musical confidence
which made direct appeal to hi,
hsarers.
HE Overture from Schubert which
Opened the program was given with al
Intelligent conception Of this poetic
c0mposef's delicate harmonies. the
clarinet being heard in solo and the
wood-winds frequently carrying the
melody.
The fine phrasing OF the strings II
tho "valse Triste." by Sibelius. and the
vivacious staccato Of volpatti's "Sere
1Mde." distinguished the playing o.
THESE two compositions and the great
''Slave March," from Tschaikowsky