The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1905-01-28

brief intermfssion logically introduced.
The musical setting does not run along
in an unbroken accompaniment but is
ing or iH connection with it whenever
the characters appear. The descrip-
tive and narrative parts are given
alone. Some of it Is m~eIOdramatic in
short musical epic. Wagnerian lett
motifs introduce all the characters and
reappear from time to time as they
figure in the poem. Miss NelliS rave
to illustrate Mr.. Penny's analysis be-
fore the programme proper COM
menced and h ocean motif with
which the score begins, which con-
sists of a scale motif in the bass and q
melodic bit in G minor.
A bit of recitative follows then the
Introduction of the characters with
the motif of each. The poem con-
tinues with the early life of the three
children who played upon the beach
and as each becomes prominent in the
story his motif is employed as the
leading feature of the music. When
Enoch departs there is a stretch of in
strumental development but little
reminiscent of the foregoing melodies.
The music from this point on is rarely
without structural alluSiOn to this
material but always rejecting and in
tensifying the mood Of the movement
with characteristic Strauss independ-
ence Of the classic formality. One of
the finest bits in the score is at the
opening of the second part when the
poet has brought Enoch to the desert
isle. Here his desolation. loneliness
and despair are developed with exqui-
site beauty and rare originality of
treatment from his motif-the hero
augmentation and
When he dreams of home the ocean
motif of the original melody reap
pears with poetical significance. An.
nFfn0r1-n Tf1nrr+--+ AAV-l-@----4 :
accompaniment is given when Enoch,
back again in the old port finds his
way to the garden of the house
where Annie" lives with Philip"
and from HI darkness without
watches the peace, comfort and hap
pIness within The score goes hand in
hand with the text throughout. com
pIetely consistent and never ~obtruSive,
a striking embodiment of the Strauss
theory of music as an articulate mode
OF universal expression, breathing an
overwhelming beauty of underlying
spirit, describing, n~arrating, comment
ing, revealing i a great novel or a
great epic poem, new S"lgnlhcanceS of
life and character In the Enoch Ar
den score one discovers the p~sycholo-|
glst, philosopher, poet and painter as
Well as a characteristic example of
the work of the greatest of
his age The -clairvoyant genius of
Strauss reads new meanings
into the Incompatible lines of Alfred.
Tennyson- His story is suggested with
as much art as the inspiring poem.
The text is really Unnecessary so
definite and a~rticulate is his music and
the effect of hearing it in connection
with the poem is to make Enoch Ar
den henceforth inconceivable with
out it.
Mr.. Frazier's reading was eminently
satisfactory. His voice is melodious,
full of color and perfectly controlled
and his Interpretation n character
szo4Tan ura~1 -rrh+T@ -
tistic.
Miss Celeste Nellis, whose popu-
larity with local musical audiences
been very strongly and fatteringly
endorsed by a marked professional
success in eastern cities, has never
been heard to better advantage than
IN her reading of the Strauss score.
Last season she gave : the "Enoch
Arden in accompaniment to Mr..
George Riddle, of Boston. on an east
ern tour, and she has heard Strauss
himself play It, The capacity of the
for dynamic shading in a small
was admirably illustrated by
Miss Nellis, whose use of the pedal
is so masterful that an endless almost
orchestral variety of tone cOlOrs was
secured During the piano parts there
was a continuous stream of sound
n the slightest m cOnfu-
Olored harmonieS to sustain the mel
Ody- The effect OF the striking origi-
nality and holiness of the Strauss
m~OduIatiOnS could easily be ruined by
a pianist incompetent technically or
amotionally, but Miss Nellis' perform
was as perfect intellectually and
artistically as physically Her inter
D~retatiOn was full or poetry. passion /
appreciation and comprehension of
the exquisite melodic, rhythmic and
harmonic details of the score, as well
Is q vivid conception of the dramatic
m n RI RTRTIZ1fTnn and GNRhnfn0ina 4
signifcance of the melodrama.
Socially the event was equally de-
ightful- The presence of Governor and
Mrs. Hoch who TODD in line with the
host and hostesses and received the
guests added to the enjoyment Of the
occasion. The company was large and
fashionable and many lovely gowns
were worn.
Mrs. Nellis was in black lace over
rose silk, Mrs. HOch in a combination
Of black net and lace, Miss Celeste
Nellis in a lovely creation of gold
yauze, gold embroidered. with gold and
turquoise ornaments, Miss Ann Marie
NelIis in black chiffon painted in q
violet design. The rooms were decorat-
I'd with quantities of Florida moss
1raped owe portieres and window cur
the big bouquets of American
Some of the guests were Mrs.
Of St. Louis. Mr.. and Mrs Ar
min Fass1er, Colonel w. H. Rossing-
Miss Florence R~ossington, Mr..
and Mrs. Charles Blood Smith. Miss
Helen Smith. Mr.. Thomas l.. King,l
Miss Helen Thompson, Mrs. Thomas t.
Kelly, Mr.. and Mrs. Joel r. Burrow,
and Mrs. L. H. Mum, Judge and
Mrs A w. Dana Mr.. and Mrs. Frank
P. MacLennan. Mr.. and Mrs. Norman
Wear. Mr.. and Mrs. Harry Ashby, Mr..
and Mrs. Theodore Hammatt, MI. and
Mrs. L. s. Ferry, Mr.. and Mrs Frank
Foster, Mr.. and Mrs. Robert Garver,l
Mr.. and Mrs. Ben Akers, Mr.. and Mrs.
Dell Keller, Mr.. and Mrs. I. J.. Day
nof, Mr.. and Mrs. George Barlow
Penny. Mr.. and Mrs. Charles F. Spen-
Mr.. Herbert Armstrong. Mrs. r.