The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1913-02-17
BY ESTHER GRIFFIN WHITE.


There is nothing, after all, as incom-
parable as an orchestra for the inter
probation of musical expression.
A single instrument is inadequate.
The piano is cold.
As a beautiful and passionless wom-
an.
The Notwithstanding to the artistic
creed of the writer-was never intend
ed for solo instrument.
In ensemble alone it it the perfect
musical medium.
But the association of all in one
blend of harmonic sound-that ap-
proaches as near ideal artistic express
sion of an art as is possible through
human instrumentality.
This Is presented to you when you
hear such an organization as the Min
neapolis Symphony orchestra which
gave a concert yesterday afternoon in
the Coliseum to an audience which
was made up of the representative So
cial and musical life of the town.
Much has been heard of this orches-
ira.
OF it's record in it's own city where
it has made of it's citizens a sophisti-
Gated musical community.
OF it's first eastern tour last year
when it was the musical sensation OF
Washington.
The local public is not surprised,
after hearing 1t yesterday, therefore,
to know that it packed Carnegie Hall
from pit to dome.
That 1t elicits tempestuous 'bravas
from it's auditors in metropolitan cen
ters.
it columns of space.
This city has never had such an Or
ganization within it's gates"
We had the Thomas some years ago
but not in it's entirety.
Here we had an organization OF
eighty-five men and several more in
struments in the aggregate.
And if one could be permitted te
say so-it was a delicious orgy Of
sound.
Music. 1t is trite to say, has the
most universal appeal of any of The
arts.
It unites both the sensuous and thu
spiritual.
It's appeal to the senses is direct.
It's emotional attack is not circui
tous.
It's intellectual lure is undoubted
And its spiritual power potent.
In the program of yesterday after
noon there was variety Of emotiona
and artistic sensation.
Splendid climaxes, grandeur of eS
clamation, great tragic pictures, epic
of sound-lovely lyrics, dainty Dres
den figurines, vagrant fancies, riot
TO color, the spirit of comedy, roman
tic interludes-the pleasures of perfec
ton, the images evoked by faultles
musical form-there is nothing, In
deed. that a great musical composition
: interpreted through the intellect an
with artistic passion, cannot evolve Il
the human mind.
Emil Oberhoffer is an extraordinar
| conductor.
| Artistic restraint run riot-if such
paradox we're possible.
Here is a conductor mot obsesse
with the feeling for form. Is not 81
tirely concerned with the demonstrs
ton Of the anatomy Of a musical CIT
alton. Nor alone with the flesh tha
covers it.
Rather does he acknowledge til
necessity Of both the anatomy and tn
flesh but recognizes that it can be onl
lay figure without the animatin
spirit Of life and passion
And forgets never the sardonic HI
mours of life.
He neither delights in the music;
dissecting room nor In the wallow {
romantic musical ineptitude-he is,
short, that rarest Of entities, a tho
oughly sane artist.
This was shown in his readin
especially, of the Peer Gynt Suite, an
LISTS Hungarian Rhapsody, No. 2,
which the temptation to over accent
ate, to weave fantasticly into the ia
ric of presentation, is one resisted /
few of his class.
The reading of the former was,
the notion OF the writer, absolutely
conformity with the spirit and intel
Of the author whose literary creatfo
inspired the composer.
There is something just trifle dl
ferent about Scandinavian artistic e
preston.
In all of the arts.
Like the wonderful northern Ian
scape-ft seems not quite real. Lii
life as we know it in dreams.
1t Is thus with Grieg's music. An
with all their bald realism, thus wi,
Ibseu's plays.
The four movements of the Sui
were. under Oberhoffer's guiding ba
on. series of distinct and yet, int
related pictures. The loneliness of Il
Morning" is felt for itself alone ar
yet as 1t presages and accentuates Il
poignant sadness Of "Aase's Death
. the latter wonderfully interpreted /
D the strings. It serves not only as
musical commentary on the aloofne
! of Death. it's terror and it's beauty, b.
, its sardonicism in contrast with Il
, swirling life of "Anitra's Dance
: which was as exquisftely lifting as
, lyric by Herrick. In contrast was Il