Harrisburg telegraph. [volume] (Harrisburg, Pa.) 1879-1948, 1919-11-03

meated every nook and corner of
the big hall. In spite of the rain,
there was q capacity house. The
coming of Damrosch and his instru-
mentalists, together with a desire
to hear a really wonderful person.
age at the piano, impelled the thou
sand or more people who heard the
concert to brave the weather.
And those who sat through
the charming offerings Of the mas
ter musician and his players and
who were thrilled by the magnifi-
cent playing of Miss Brard were
more than amply repaid for any dis
comfort they suffered in making the
trip to the auditorium.
Not only were there music lovers
from Harrisburg, but from cities and
towns within a radius of so miles.
A concert given under the almost
magic wand of the incom parable
Damrosch isn't a frequent occur
renee even in the capital city or
Pennsylvania. Therefore. when it
was known that he would be here
with his players the music devotee
of Central Pennsylvania, as well as
from Harrisburg, laid aside all else
to drink in the feast of tone and
rhythm and color that had been Of
fered. The hall was gay with Hal
lowe'en decorations and hundreds OF
lights filled the auditorium with the
brightness of day.
Opens With Overture
The program opened with the LIE
Rel d'Ys" (The King of 1s) over
ture, written by Edouard Lalo and
played for the first time on May z,
1888, at the Opera Comique in Paris.
co. he
that the overture was written in ad-
vance of the opera and prior to 1875.
The overture played by the Dam
rosch society was the revised version
of the number and which had it's
initial rendition in 1885. Perhaps
the outstanding feature of the over
ture was the expressive clarinet SOLO
of the melody said to have been de-
rived from one of the numbers sung
by "Mylio" in the opera. The mas
terry of Damrosch was seen as the
instrumentalists gathered strength
and followed the baton of their
leader with an accuracy that was
almost wizardous into the climax
over into the body proper of the
overture. The violonicello solo OF
the melody taken from one of Roz-
zen's numbers in the opera held the
audience almost spellbound as the
soulful strains thrilled and we'll
nigh enthralled them. The over
ture concluded with rousing theme
founded on the knight Mylio's war
song, and at the end the audience
broke into vigorous and prolonged
applause.
The playing of the Beethoven
Symphony No. 2 in D" likewise
brought the audience almost to its
feet. Full of vigor and humor, de-
suite the growing deafness of the
great composer when he wrote 1t
the composition proved the resource
fu1ness and genius of the master.
In the scherzo (in D major) char
acteristics of the later Beethoven
were evident, the softly undulating
passage perhaps telling of the vary
ing moods, depression, sorrow, hope
and misgiving of the writer. There
was no diminution of interest
throughout any of the four move
ments, the main theme always being
carefully and artistically sung by
the instrum ents.
Child Pianiste Applauded
The appearance of Miss Brard
brought forth an outburst of ap-
plause even before she sat down to
the piano. Saint Saens' Second Con-
certo in G Minor, written for piano
and orchestra, was the number
chosor for the Harrisburg concert.
There was none of the awkwardness
of the girl in her early teens ap-
parent in the performers demeanor
and she was exceedingly good to