The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1904-01-17


rung on the theme. not Of Parsifal-
but Of the presentation of ParsifaI in
New York Such a variety of opinions
has seldom been expressed even in the
line Of musical criticism. One critic
says: Despite the thrilling OF the
preachers and the preaching of the
critics. the public has stamped its seal
of approval upon Wagner's last work.
il accepts the Parsifaila ciOus preach
lnent without a murmur Of disapDrova1.
II enjoys tie scenery and likes 70 be-
lieve that the music and the several
episodes are religious. Here are the
church and the theatre combined; and
never is the dear public so self-satisfied
as when IL is killing two little birds
with one big stone"
Following close upon this comes an
other critic, who treats the whole from
a humorous standpoint and makes one
feel that It's worth it, too After a re-
sumo Of the opening theme. ne says:
NOW follows the motive which indi-
Gates the non-union repulsiOn of Kun
dry by Klings0r, the walking delegate
Of the Sorcerers' Union Local as. Occa-
siOnalIy expert students win catch the
snore motive in the bassO meant TO
typify Kundry's sleepinsss during the
lcng arguments by which her soul is
attack by Klingssor and the advO-
Gates Of the open shop. It is in this
connection that We feel the influence of
Wagner's early studies Of Schopen-
hauer, COnfucius, the Binomial TheO-
rem and Poole on Whist, with occasion
al chords of syncOpations limiting at
acquaintance with the Socratic method
and the Botticello school of interior
decorations for suburban homes. Then,
by gentle crescendo chromatics on the
piCcolo and yellow claTiOnet, this great
master of universal knowledge and folk
lore leads US impressiVeiy into the pres
ence of the great mystery itself-the
OBSERVATION-DISCLOSURES rheiniges motive.
The most scholarly space writer's in the
world differ as TO the exact significance
Of this mystic theme. The explanation
will have to be left to the ladies and
gentlemen who are lectu1fng after
moons on Parsifal and explaining the
music with magic lantern views"
And after one has carefully read all
that the critics have TO say one is
forced TO the conclusion that some peo-
lle like It ana some DO not.
A letter from one Of the Utah mu-
sicians studying in London has the fol-
lowing in It. which viii be of interest
To Salt Isakers:
1T viii be remembered that some
months ago a manuscript copy of a
theme and variations by Arthur Shep-
herd was submitted to Signor A. vi
setti of the Royal College of Music, and
by him was highly praised. A short
time ago Miss Tout. sent the copy TO
Mr.. s Coleridge- Taylor, the composer
of 'Hiawatha," and asked him for an
opinion as TO its merits. In reply she
has received a letter, IN which Mr..
Shepherds talent is highly commend
ed Mr.. COleridge-Tayl0r says that the
composition has brillianey and origin
atty. and the sentiment is excellent.
He thinks one who possesses such tai
ent has a very bright future. This rec
ignition of his work by a composer of
Mr.. COIeridye- Taylor's standing is GER
tainly great compliment to Mr. Shep-
herd. Miss Tout hopes soon TO submit
the manuscript to Mr.. Aurthur Bo8sey,
chief Of the publishing firm Of BOosey
& Co. He has promised to give it con
sideration, so there is a possibility of
its being published.
The following programme viii be pre-
scented at the Grand tonight:
March. When de Trombones Slide"
.---......--... .........-..s..... Held
Caprices (a) Jolly Miller's Gallop.
......-....-,-.... ..-.........s. hOtisOn
(b) Dancer Mexicana" 49,.
-............ .-..,..-,,..,.. Chambers
Cornet solo, ''Zaraida" 1900. Puerner
Mr.. Henry Johnson.
Descriptive. "a Midsummer Day in
Norway -..+.t..........., Willmers
Standards (a)) Pilgrims Song,
from 'LOmbardi' ..........-.. Verdi
CD Agnes Del from
Mozarts 18th Mass. Mozart
Baritone solo, THE Trumpet Shall
Z
Mr.. Charles Moss.
With oblisato by Mr.. William Leslie. /
Grand selection from Dolly Var
den" Julian Edwards
(a) Patrol, The Blue and the Gray Z
..--....--- .-.------- ......-.-. .OalDF {
Cb) THE Sleighride Gallop" Cby re-
quesD OBSERVATION-DISCLOSURES Brooks :
Overture, The Beautiful Galatea"
........... ..-.......-.....-.... SUppe /
A clever and very pointed suggestion I
appears in one of the New York papers !
on musical criticism ND TO date. The
idea is TO have a large photograph /
grinding out all the musical terms inn I
aginaDle and absolutely unintelligible 1
70 the common mind while the musical 1
critic transcribes them into his copy. /
Some Of the terms are andante, motif, /
allegro timbre. arpeggio, iilt. largo,
tempo, rhapsodical. pizzicato, bravura. /
doucement, contra, fugue, scherzo, ada /
gio, woOdEipd, cadenza, fOrtissimO. The I
following quotation accompanies the 4
suggestion:
FTOm an Amiable Contemporary
But the work Of the orchestra must 4
not be forgotten. It introduced a fine
in ID minor by Dohnanyl the
piano virtuOsO. This symphony is ;
strongly Hungarian in character: has
an exquisite. rhaDs0dical adagio. q
piquant scherzO with shrill little dabs
for the wood wind over rumbIiug dou-
bic basses, and a fine set of variations
with a fugue in the finale.
What is this?
One of the most artistic recitals one
could wish was that given Tuesday
evening by Mrs Miller and Miss Jen-
nings in the congregational church
The friends Of Miss Jennings were sur
prised and delighted at the magnif-
cence of her voice. her every number
showing to what seemed better advan~
isge than the one preceding il. Airs.
MilIer's best selection was the last the
beautiful music from 'Lehengrin' end
ing with the bridal chorus. The even
ing was q great success IL every detau.
combining as it did the social and mD-
steal side Of life and presenting in tins
latter q rare treat for the friends Of