Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-01-07

A LARGE section of the music loving
"A public of Philadelphia got what was
to many their first real insight into the
spirit of Welsh music at the annual
Eisteddfod held at the Academy Of
Music last Monday afternoon and eve
ming. IL was the twelfth year that
these meetings have been held in Phil
adlphia, but this years was the first
to attract general attention outside Of
the Welsh people themselves.
The Eistedufod is very old institu-
tion of Wales and It differs from the
meetings of every other country in
many respects. The German Saenger.
fest is probably as old an institution
as the Eisteddfod, but IL is much more
limited in scope. The Saengerfest deals
with no art except that Of singing the
EHteddfod Includes all the arts except
those Of painting and sculpture, taking
In vocal and instrumental music, apart
from the choral contests, which arc al
ways the chief ones Of the program
(probably by reason Of the numbers
involved, art nPdlework. the writing
of essays and poems, magazine cover
designing, pen and-ink sketching, mu-
steal composition and recitations in
limit TO the scope of Welsh eistCdd-
fod, provided the competition be in the
arts.
The eisteddfod dates from the fourth
century and, according to the authori-
ties, had its inception in literature,
and not in music. 1t was originally a
meeting Of the bards. and the musical
feature, now its chief one, was not
added for a number of centuries.
DUT, TO the attendant at the eistcdd-
- fod on Monday, that is, one with =
out personal interest in the outcome OF
any contest, the chief "thrill' was
scarcely programmed at all II was
found in the marvellous singing Of the
Welsh hymn "Aberystwyth, " and after
the hymn "Hunters6eld" by the audi
ence. 1t must be remembered that this
audience included about 1000 singers
who took part in the competitions; but
besides these there were nearly 1000
more who we're competitive singers at
one time or who were not taking part
in this particular eisteddfod. At any
rate here were gathered in the Academy
nearly 5000 trained voices, all Of which
knew both music and words.
This was none or the careless, hap
hazard singing heard in most American
churches. The Welsh have always been
! famous for the fine congregational sing
! ing in their churches. Every Welshman
goes to church and every one of them
| sings. There Is no rough division OF
| their singing into the melody and Il more
or less accurate bass, nuCn as the Amcri'
/ can congregational singing usually is
| Each one learns and sings that part t.
which his or her voice is adapted.
The result on Monday was that in the
marvellous waves of tone which the huge
audience produced in the rarely bcauti.
/ full hymns, the soprano, alto, tenor
| and bass parts were almost evenly
| divided. One heard the full quartet OF
every side, all sung in tune. all watchin.
the leader so that the breath divisions
were made together, and all singins
with n religious fervOr equa'cd only by
| the congregational singing of the
chorales of the Bach Festival in Beth
lehem and far surprising that audience
in tone and quality.
Imagine, If you can, any audience
of nearly 1000 persons, except that Al
an cisteddfod, singing through a hymn
in minor key, with the delicate inton'
atoms that any minor key requires. am
| doing it perfectly. 1t gave n thrill
which is produced by music only few
! times in lifetime, but you can hear /
at every Welsh eistcddfOd.
DR. BROOME. of Toronto, who, witt
LII. Alexander Matthews, of thi