The San Francisco call., 1909-12-19

liarities or distinctions, rather He
never practices.
How can / practice? To get tech
nique? But my technique is not
thing apart from my music. 1t is part
and parcel with ii. The thought and
the expression in music are Identical.
They are welded beyond possibility of
enforcement. The thing said and in the
way il is said are one and inseparable.
Now. if / practice have to play, and if
I play emotional exhaustion results.
Then I can't play so we11 at my recital.
To an artist his presentation should go
a S by enchantment.
There are many artists who nerv-
ously believe they must work and work
at their instruments hours and hours
a day. 1t is the result of self-sugges-
tion. and they have come to believe the
false idea. They are thus likely to de-
velop the mechanical at the expense of
the spiritual, the machinery instead of
the beauty of music. Technique is like
money. One must have it, but it should
never be jingled."
Following is the program which
Kreisler viii play this afternoon at the
Novelty theater as a farewell offering,
and TO miss this program were pity. for
for Kreisier is the one violinist I know
of whose appeal is equally successful
with the trained and the unframed in
music. The skilled violinist and the
learned in art sit next to the man
who does not know one note from an
other nor a bassoon from an oboe, and
all three so away rivals in enthusiasm.
This is todaNs program:
THE Devils Trin," by Tartini;
Vieuxtemps' concerto in F sharp
minor; Gluck "Melodie"; La
Precieuse,' by Couperin; some viennese
dance music by Josef Lanner; and a
group Of three modern compositions by
Cottonet Chaminade and Ferdinand
Arbos.
DEPORTs of verified character from
IL Los Angeles state that Marcella
Sembrieh attracted such throng
to the big auditorium that a host OF
potential ticket buyers were turned
away. The building was full. The
fact becomes worth noting because
Nine Sembrich is on her way to this
city now and viii be the first of Green
baum's attractions for the new year.
Sembrich differs from many opera
stars--in fact from nearly all--in her
skill song interpreter. The great
est Of prime dome rarely are able to
interpret "Lieder'' successfully Their
ability begins and ends in the broad
d
they know little or nothing about
the art that lies in a Schubert song
or in the unostentatious beauty of a
Franz composition. But Sembrich
sings an operate aria next to an art
song by Schumsnn or Schubert or
Franz or Brahms. She is at home in
the splendors of the old Italian oper-
attic melodies; she sings the modern
Mascagni or Puccini dramatic compo-
sitions and she is on fine terms of
intimacy with the works of all schools
Her musicianship is not limited to the
mastery of a single instrument-the
voice-nor to knowledge of certain
school. AS a violinist she has been
given high honors, and she is. in the
true meaning of the word a musician
As an interpreter of Mozart Sem
brich- excels. The simple line is the
hardest one to draw in music and
Mozart's simplicity and translucent
purity show off defects of interpreta-
tion with disastrous vividness. If YOU
can sing Mozart, Wolf won't bother
you. The demands on technic and
voice control which the naive melo-
dies of Mozart make are too great for
any but the most accomplished artists
Thus it will be good to hear Sembrioh
in The Magic Flute" and Don Gio-
vannI" The Mozart duets will be
participated in by Francis Rogers, an
American barytone of whom report
speaks highly.
noteworthy feature of the Tuesday
night concert of the Loring club was
the rendition by Hother Wismer of a
violin selection composed by Fred
Maurer, the latter acting as accompa-
mist. The composition was most favor
ably received.
The recital was the second of the
season and was up TO the high stand
ard set by the club. One of the most
popular offerings OF the evening was
Schubert's The Night Is CIoudless and
Serene"
Wallace A. Sabin occupied his regu-
lar place as director. Mrs. Grace Davis
Northrup sang most pleasingiy