The San Francisco call., 1905-01-29

The event Of this week musically is
the appearance of the Dolmetsches,
who come on Tuesday evening to Lyric
Hail. Expectancy is very high concern
Ing them. Their entertainment-with
all respect one uses the worlds of the
highest appeal. Neither as instruction
may their concerts be neglected, nor
for the unique and piquant pleasure
they afford. Among the archaic instru-
ments upon which they will play are
the harpsichord, the lutte. the virginals
upon which Queen Elizabeth's white
fingers condescended to stray-the
viois, the clavicene, the viol da gambia,
the viola d'amour, and yet more. Mr..
and Mrs. Dolmetsch both play, and
Miss Kathleen Salmon, who provides
the vocal illustration, is also an instru-
mentalist.
As to what one gets from the affairs
here Is what Philip Hale says-you all
know Philip Hale Of the Hub, and one
OF the foremost critics Of the day:
THE concert given by Arnold DOL
metsch and his assistants was one of
rare interest. Not merely because ar
chaic instruments are shown and ex-
planned and played, but also because
the players are enthusiasts In their
art; because there is return for the
time being to the fresh days of music.
when beauty was neither aggressive
nor morbid, when there was simply
faith and modest, fragrant sentiment.
1t is pleasure to speak OF Mr.. Dol
metsch's quaint, interesting explana-
ton OF the lutte, cithern. viols. virginals
and harpsichord. Throughout the con-
certs there was nothing to break the
spell for the enthusiasts. or. to use the
words in the old sense. the humor Of
Mr.. Dolmetsch only strengthened it.
TO the hearer who does not measure
art by bulk, sensationalism or CONNER
cialism. how full of suggestion was
this old music in the performance:
what piquancy in the music of Scar
latti and Rameau when played on the
harpsichord, the instrument for which
this music was written.
THE music is as though It were
written solely for you. and. perhaps.
one other. There is a personal appeal.
There is necessarily close relationship
between player or singer and the
hearer. And then the emotion is in
the player and hearer. as we'll as in
the sonata or the song.
Would that these artists might
visit us again, as We now know that
music is not a thing of purely modern
invention; and that there were musical
instruments before the gigantic orches-
tras and ingenious mechanical con-
trivances."
Melba next week, with two concerts
at the Alhambra Theater on February
and 10. Prices are to be Melba prices,
beginning at 81 and ending at IS, and
the seat sale opens at Sherman &
Clay's music store next Thursday
morning. For your one or five dollars
you will have the Lucia" mad scene,
"Se Saran Rose" by Arditi, Tostrs "Se-
renata," with its obligato for the harp,
among other of Melba's numbers. Also
there is to be heard a young harpist
who has made a sensational success,
Signorina Sassoli; Ellison Van Hoose.
the well-known tenor; Charles Gilbert,
the barytone, whom we shall all be
glad to welcome; Miss Llewela Davies,
pianist, and Mr.. c. K. North, f1utist.
The affair promises to be one Of the
events extraordinary Of the season.
The coming of Henry w. Savage's
English Grand Opera Company to the
Columbia Theater for limited season
beginning the latter part of February
will be a welcome event to the host Of
music lovers in this city. This engage
ment will serve to introduce here what
is considered the finest company of
American singers ever brought togeth-
er in this country. They include the
great high c tenor, Joseph Sheehan;
the barytcne, Winfred Goff; Gertrude
Rennyson, soprano. and Marion Ivell,
contralto. Then there is the Wagnerian
tenor, William Wegener; Jean Lane
Brooks, soprano: Rita Newman, dra-
matte mezzo-soprano; Arthur Deane
Covent Garden barytone the past four
years; Francis j. Boyle and Harrison
w. Bennett, two exceptional bassos.