The news scimitar. (Memphis, Tenn.) 1907-1926, 1920-01-15
Barbarian Feels,
Doesn't ARdLyze
Symphony Concert
BY &

Even for the heart Of one saddened
by the approaching pail Of the doom
and death of wine n many Of those
potations concerning which so much
really beautiful In mnsic has been writ
ton; even to the sensibiities Of one who |
longs to know, rather to one who really
does know, the intricacies, the tech
nique, the machinery of music, II there
Is such a thing; the personality of Eu-
gene Hsaye, the perturbation of the
scenes of his wizards of string and wing |
c9njured up In the brilliant concert at
the Lyric theater Wednesday night,
ltnger next day and will continue to
llnEer, no doubt, for many, many days. |
The conductor himself. eloquent even
IN his back, the consummate musician
first of all limns his personality on the
retina Of the imagination as a figure of
distinction, not without a touch OF SOM
berness to his dignity and consummate |
care In playing upon his orchestra as
the organist musing over his keys.
Salvoes and the tread of those heroes
who stemmed the Prussian tide in his |
native Belgium could be heard and seen
marching to the strains of Saint-Saens' !
March Heroique,' which opened the
program of the Cincinnati Symphony
orchestra.
A tear, a watt Of the handkerchief by |
a dancing-eyed girl from an old Flemish
house with It's responding hail from the
ranks might be seen and felt as the
reeds, the ohoes and an occasional
trumpet's cali wove themselves into the
fabric of the composition.
All the moods, all the colors flashed
across the vision In Schubert's B minor
symphony. Colors, Kaleidoscope, moods, |
vague, undetermined, indefinable yearn- |
ings, with the feeling of possible disas-
ter vibrated through this number. Per-
exalted realization of the cathedral
tones of the Hymn to st. Cecile,'
Gounod's majestic blending of harmony
TO the incidental solo of concert meister
Emil Herman. Cathedral tones from
the orchestra from which setting welled
up from the nave, the clear soprano
simulated by the tones of the violin in
the hands OF a man in love with his
instrument and with his wdrk-a hymn
of praise and %supplication ending in the
diamond cut clear young cry of a soul
of purity.
If all moods were vaguely suggested
in the Schubert number, many were
realized in the Massenet Scenes Pittor-
esques." Again the martial strains,
| again the tread of the feet Of soldiers,
| but his time in q less majestic, In more
joyful march as If returning from dress
parade. rather than from desperate, he
roic battle.
All, now we are at the opera. In there
troop lightly tripping, smiling rouged
Tipped ladies of the ballet. Moonlight,
lHTllSN llLlle ShlTlS lHeS nave udllly NJ
tie feet they have; they pirouet; they
kick; yes, they do kick, the c%ellist, the
violinist, the strummer of the bass
knows and feels it. So do you, don't
you?
Again, the strains of this air dying
away, the sound of the bell is heard.
Angelus calling to worship. The boys
and girls are there. Even amid the
distant pealing Of the organ one can
hear the muffled shouts of rosy children,
the restrained giggles, perhaps, through
the oboes and violins of a village dam
sci elusively beguiling her lover.
Then the fete. Then the brass, her
aids the burgomaster perhaps, Then
the feast, the villagers dance, the SOL
diers march but little, and in disorder,
this time and the suite ends in "A blast
Of joy.
Ivory shouldered ladies, gentlemen in
knickerbockers gaily, madly then low
iugly, alternate their moods through
| Nalse Caprice of Rubinstein.
But when responding to call after
call, Ysaye, without score, many of his
men without music, throw their hearts
and souls into the great Wagnerian
overture at the finish the climax comes,
Thunderings Of the storm, cries of the
| Vanquished, paeans of the victory,
majesty of authority and dignity and
cXaltation brought too soon to an end
| a Journey into the and Of fancy not Of
ten taken in such distinguished COM
pany.