Deseret evening news. [volume] (Great Salt Lake City [Utah]) 1867-1920, 1906-04-17
FIVE YEARS AGO TODAY.

knowledge of counterpolni far beyond
the grasp of the average musician, and
when a performer handles the Compli-
Gated Fugues of John Sebastian Bach
with not only ease, but consummate
grace, II is patent at once that he
walks among the highest paths Of the
art divine The "Curfew' number was
n delicate specimen of musical lace
work-rlch. rare and beautiful, and art
istically descriptive Of the curfaw scene
in Gray's Elegy In a Church Yard,
beginning, THE Curfew tolls the knell
Of parting day" The light. graceful
treatment Of this number by Prof. Le-
mare IN strnged registration and the
use Of the vox humane stop was pleas
ing and grateful
The Rustic Fantasy by Wolsten-
homc, a now favorite organ composer
IL also IN light vein, but emphasized
with great and imposing phrases which
dignity the entire work. 1t is some
what suggestive Of Gypsy music, and
the Introduction OF bell passages adds
a rustic flavor. enlivening and PLEAS
ing The Mendelssohn number IL n
complete and great composition. solemn
in It's beauty and with reverential i'm
presslveness. There are brilliant ar
peggios and choral passages that
were handled with great skill by the
performer, and the closing Andante is
suggestive Of tranquility and peace like
the painting of quiet summer after
noon, I'm an English landscape. There
are FIVE movements In this famous
work and the versatility, powers of
musical portraiture and majesty and
dignity Of description Of the composer
We're fully brought out by the master
hand of Prof, Lemare.
To some listeners. the Wagner mu-
sic was the best OF the evening. In
deed It was here that the exeeutant
displayed his great interpretative pow
ers and II may be observed that It re-
quires Just such abilities TO interpret
Wagner, for II has required 40 years of
growth for the musical world to reach
up and gather the fruits of that COM
poscr's unrivaIled genius. There is
marked religious favor to the Parslfal
music that leaves II with u species Of
supernatural grace and beauty, uncon-
sciously lifting an audience to high
er realm of devotional contemplation
remote from the trifies of a terrestrial
environment.
Prof Lenare was very happy IN his
presentation OF the Parsifal with its
wierd supernatural and delicately
progressions that starte inspire and
entrance. He was also happy in the
performance of his own compositions
which mark the true composer and the
highest type OF musicianship. And
particularly true was this evidenced
In his improvisations. II is Just In this
latter field where so many organists
fall down. A man may be a paragon
OF technical accuracy, and yet II he
has not "A true musical soul capable OF
conceving harmonies at viii. as the
skillful artist painter conceives the
beauties OF nature and a truly aes-
thetic nature that can act as lens
through which these powers may be
made apparent to others, he can not
really improvise II is a God -given
gift, a special heritage whose possess
sion marks one as specially blest.
Prof. Lemare made all this plain, not
merely from a melodic standpoint by
through consummate skill In regIstra-
tion which is to the organ what or
chestration is to strings and instru-
mentation to wind band performance.
Then his playing of the "Andantino"
was given with an originality and
freshness In instrumental elocution
that charmed his audience.
The great Mozart number was the