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urn way if he wishes. There m some
lively sparring among the populists
for Kern's place in congress for the
next term. Gov. Holcomb has been
laying bis plans for the seat for some
time, out there may be some trouble
about bis getting the nomination. The
governor will not be a candidate for re
nomination for governor, although he
could get the nomination easily. It is ap-'
parent to all politicians that in the
present divided condition of the demo
crats and the hopeless condition of the
populists, the republicans will be di
vided to elect their state ticket unless
tbey make a bad blunder ike that of
1891, when T.J. Majors was nominated.
So there is a dearth of candidates for
state offices in the populist and demo
cratic parties. ' THE EDI IOR.
I IN
m Hkebskt Bates
RELATED KEYS
3
The music at the Universalist church
was made up of numbers played by re
quest. This is a good idea. At the
music servioes one canuot applaud. Con
iequently one cannot call for encores.
So it is a good idea to have, now and
then, a service that is nothing but en.
cores.
Most of the music I have commented
on before. Tne Adagio from the Sonata
Fathetique is always a favorite. It is
odd, too, with all its serious sadness
in its introduction of that little
phrase at the end, that little fluttering
sighing content. The quartet played
with feeling; possibly they should have
given the theme a little more promi
nence over the accompaniment.
Beissigers quintet was better played
than when it was given before; the
quartet had grown, I suppose, more at
violin numbers, far excelled his previous
work. Without an accompani ment, he
seemed to feel freer, or, it may be, to feel
the greater demand made upon the
unaccompanied instrument. At any
rate.be met this demand. Into both
numbers, the Arioso and the Am Spring
quell, he pnt more force, more contrast,
more brilliancy, more magnetism, than
ever before. The Am Sprinquell, par
ticularly.wae a triumph in technique, in
musical technique, not in mere dynam
ics and rapidity. There are moments
when one regrets the impossibility of
applause. The end of Mr. Charles
Hagenow's number was one of these.
MissAlmeda Adams sang Biumen
thal's "The Message." The song itself
seems a little diffuse, a little monoto
nous in musical material. Miss Adams'
voice, however, made it a success. Hers
is the strongest voice I have heard at
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SOL SMITH RUSSELfo
home in it. The Andante wan very
beautiful, with something of the noct
urne spirit, a pleading unrest, music
that demanded sympathy, music of
hopes unrealized. The tarantella, after
its incongruousy solemn introduction,
was off in a gallop, like the acrobat, who
bows gravely to the spectators, and
then goes spinning across the stage in
undignified handsprings. It was finely
stirring, and quite made one forget the
pleading Andante.- But I should have
preferred to remember.
" The rich melody in F, and the Am.
Abedd, with its soft end the last
drowsy rock of the cradle need no com
ment. Nor does the glad Gloria, the
frank joy of which ended the music for
the day.
Mr. Charles Hagenow, in his two
these services, and, while not so
smooth in quality as some voices of lees
volume, it has much sweetness, a tone
that can charm and thrill. Miss Adams
could do more in shading and contrast.
Her singing is too uniformly loud.
A few passages in pianissimo would re
lieve and emphasize the power of the
rest. Taken all in all, however her voice
is, for dramatic purposes, the best in
Lincoln. She should be remembered
in local oratorio, unless there is a hope
lessly rooted preference for those that
sing chiefly with their eyes and put
into theii smiles the sweetness that
they cannot get into their notes.
This was, on the whole the best pro
gram of the year. It was well arranged,
it consisted of music uniformly of
merit, and contained the names of three
conscientious and art loving musicians.
Itkto be hoped there will be more
like it.
There are two types of attentive list
eners to music. One is the emotional
listener. He falls into a passive state, as
in the presence of a hypnotist, and lets
the music suggest his mood, even his
thoughts. Hi can not be said conscious
ly to listen to it. He hear, not its words
or its individal notes, but its bulk, its
total contents. And, at tbe end of the
hour, he rises, exalted, or soothed, as
the case may be. He has been in the
opium-world of music and has dreamed
through its delights.
The other extreme type feels little
emotion. He watches the subject and
its development, the chords employed,
the ingenious elaborations, the musical
technique,occupied always,besides. with
the indefinable mental task of "following
music" He listens to the development
of the musical thought as one would
listen to the thought of a sermon.
He sees the' flaws in musical
logic, the triumphs of musical rhetoric.
ge may come away exhilerated, exhil
erated by the sense of having istened to
a triumph of art over musical matter.
The ideal listener will blend these
two delights. He wili at once feel the
vague emotion and appreciate its defi
nite expression. Take a case ridicu
lously simple. In listening to the
"Suwanee River," a person with imagi
nation, but utterly without any frac
tion of sense for musical form, would
feel a mingled sense of pleasure and
pathos. A person of even very little
musical training would feel the presence
of a tune, a Bubject, a distinct musical
utterance, in the form of a musical sen
tence. And this sentence would be un
translatable into words or into paint
ing, or into any shorter musical form. '
The musical subject of a tune is that
tune, no more, no less. You can tell, in
en words, the subject of the words of a
song. Try to tell the tuce. You can
tell it only in sound, or in notes, which
represent sound.
The subject of a tune is then, the
sound of a tune. Change the notes,
and you change the musical meaning.
It is like a decorative drawing in ara
besqueit represents only itself.
Of course it may imply mood. It
does imply mood. And to the sympa
thetic listener, whether to plantation
song or to symphony, this mood is
much. But a composition does not live
by mood alone. It must bave, more than
emotional thought. It must have musi
cal thought, too. And the intelligent
hearer should understand both.
To illustrate. Compose a piece of
music that shall suggest love. Play it
to your friend and ask what it repre
sents. He will answer "Religious yearn
ing." Another may say "Loneliness,
another "Homesickness.' And all will
be right. It will be yearning, pleading
music, but it will suggest to no two
people the same need. On the other
hand, its musical subject will be
definitely interesting, not as a matter of
mechanics, but as a musical thought,
a thought felt in sound, not to be ex
pressed except in sound.
There are these two ways of looking
at music. And the true lover of music
will try to mingle them, to draw double
enjoyment.
The university orchestra and string
department held its recital on Wednes
day evening, in the university chapel.
I heard only the last number. That
number, the Minuet from Haydn's mili
tary symphony, showed thorough work.
It is a good idea to have the little folks
play in the same orchestra as their
elders? They catch the spirit of the
music by contagion, and they are
helped over the hard places. It is re
markable to see, in an orchestra com
Moat young player are content to grind
the musk out in fair time and tune.
Mr. Hagenow has showed these how to
posed so largely of very young members,
so much expression, so delicate shading,
give it ita full value of delicate expres
sion. There seems to be good material
among them. Gaps in the Philharmonic
orchestra should not be hard to fill.
Purple Pansy, Her Majesty's Per
fume, is the gentlemen's favorite
amongst the latest odors. At Riggs
drugstore. Twelfth and Osts.
MRS. PYLITS RESTAURANT.
Mrs. Pyle, having purchased th
Model restaurant in the Salisbury
block. Twelfth and M streets, hereto
fore conducted by Mr. Scott, is giving
her undivided attention to the work of
making this the most popular restau
rant in the city. Mrs. Pyle has a most
desirable class of customers, and the
patronage is steadily increaaing.ri It
easy of access from the business ponots
of tbe city anJ the appointments and
service are all that could be desired.
Table board by the week, S3; ticket good
for 21 meals, $050.
Uadar aw uim-m-i.
MEBCHANTS, HOTEL
OMAHA, NEBR.
PAX-TOW, BnnJRT BATZMTCmr,
Piwavleton.
hUm to -tote t-tUU,
uimuh. -raiaam m
tk deer to sad frost all
Sale of Collateral Security.
Notice is hereby given that the
undersigned will on the 14th day of
March, 1896, at 1 o'clock p. m.,of said day
sell for cash at public sale, to the high
est bidder, at the banking room of the
undersigued. being situated at the cor
ner of O and Eleventh streets in tbe
city of Lincoln, Lancaster county, Ne
braska, one certificate of stock "f tho
'Columbia National bank of Tracoln,
Nebraska, being more parti :uIh-v de
scribed as follows: Certificate No 91
for 20 shares of 1100 each of the Capital
stock of the said Columbia National
bank of Lincoln.
American Exchange National bank,
Pledgee.
March 14
MR. MOT
Instructor
i n voice
culture or
-SINGING
501 and 502 Brace building
9 1. 1. T6 2:30 PL III IT
APPOINTMENT
For High Polish or Domestic Work
TRY
3Be gest Launfli
2249 O Street. Phone 579.
H. H. ToWfSED P. M. PL0M0500N
HKRivRn LAVHnTIL HHIIMHI INnR
LINCOLN, NEB.
I M.RAYMOND.
President.
S.H.BUBNHAM.
Cashier.
A. J. SAWYER
Vic President.
D.G.WINO,
Assistant Cashier.
CAPITAL, $250,000 SURPLUS $25,000
Directors I. M.Raymond, S. H. Bornhsm.
C.G.Dawes. A. J. Sawyer, Lewis Gregory
N Z Snell, G H Lambertsoo, D- G Wing, S W
Barnbam.
Every purchaser of
$1 worth of goods
will receive a cou
pon worth 10 cts,
to apply on future
purchase. 5c cou
pon with 50c
Riggs Pharmacy
12 &Q
J,
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