The age-herald., 1901-10-27

Yesterday afternoon at 2 o'clock in her studio, in the Academy of Musie, In the Watts building, Miss Daisy Rowley en- tertained the Woman's Club. Tho ap- preaching rendition of tho opera "Lohen- gin,'' by world famous artists, suggested to NJ ss RowIey 'Wagner evening and the members of the Woman's Club were the guests of honor. No one is better qualified to speak intelngently and au- thoritatively upon Wagners beautiful opera of ''Lohengrin" than Miss Rowley, she being not only an accomplished and talented musician, but having spent also many years at Dresden, where she heard the opera produced by the worlds great est artists. Hiss Rowley spoke at length upon the life work of Wagner and in de- tail of "Lohengrin." giving a fui analy- sis of the work of its leading motives.
 Tells of Wagner's Work.
 In speaking of the influences which were most perceptible in the forming of Wag- ner's great genius Miss Rowley said;
 'The two men through whose fiery irn- hgination Germany received the refiec- tion of it's own intensified romance were Byron and Eerlioz. It was necessary that Byron should have influenced the school of Romantic poetry before Hector Der lioz could sway the younger school with his romantic influence"
 Continuing Miss Rowley traced the in fiuence Of Byron on the new German Ro- mantle School as it was later seen In the works of Heinc and other German writ CTS. And as Byron influenced the poetry of romance. so did Berloiz rule German musical art. Miss Rowley then traces the points of similarity in the temperament and work of the English poe, and the French musician, and after dwelling upon the main characteristics of the work of Berloiz she continued:
 ''I have mentioned Berloiz here as the real founder of the new Romantic School of Music, a schol exercising immense power on the musical world of the pres ent and to which belong Liszt, Chopin, Meyerbeer. and Richard Wagner. And as Berloiz was the founder of the new Romantic School, so Richard Wagner may be styled its perfector. being its most prominent and truly chosen dramatist" !" Miss Rowlev then took up the life and work of Wagner. treating her subject in a concise and yet charmingly comprehen- sive way. While speaking of his other works Miss Rowley hastened to take up the analysis of his beautiful lyric opera ol 4aoho1grin.
 HIS fntrO0uCItOn.
 Of this she said we must notice that in the introduction to this opera Wagner employed a new art-form in which he leads the chief motive from pianissmo to the extreme Of fortissimo from which by degrees it descends to it's former level, representing effectualiy and in a manner most poetical the Irogress of the Knight of the Graii.''
 In speaking of the music-drama and the employment of the monothematic style. Miss Rowley explained that Wagner uid not invent it's use as 'leit-moter" but made it the important features of his dramas belonging to the second period
 Wagner she continued. adopts a single stcreotyped and ever-recurring tone phrase intended to designate each character
 Alter giving the story of the opera the action of which was placed in the tenth century in Brabant, near Antwerp, Miss Howley took up the careful analysis of eacn act of the opera.
 illustrated With Piano.
 In describing and explaining the motives or each Miss Rowley gave piano and vocal illustrations to illustrate each one In this she was most effectively assisted by Miss Alice Fallon. who rendered most ex- quisitely Elsa's Dream Motif. ana others, Madame Everest. who gave both Elsa s and Ortrud s, and Mir Charles Wash burn, ti-e King and Frederick Telra- -mund's; MT. samuel Reid, the Kings, and MT, Geis that or Lohengrin.
 AS accompanist Miss Marcela Klotz added most notably to the Illustrations given