University Missourian. [volume] (Columbia, Mo.) 1908-1916, 1910-02-14

is somewhat at the expense OF the
work as a whole. The broad sweep,
the abandon, which are so essential to
the expression of larger, more insis-
tent emotions, of passion in general.
are lacking. The emotional reserve is
little too evident. All of Mr.. Zach s
readings, however, are highly tingeI
with a poetical sense of the beauty OF
the works, atoning for what may be
lost on the more purely emotional side
He is evidently very much OF an iii
tellectualist" in his musical concep,
tiOns.
The soloist OF the evening. Mr.. Du
Moulin. received hearty and well de-
served encore. The cello is very often
much abused. Its effectiveness as Il
solo instrument lies in its rich. vi
brant. plalntive tone and il is but little
adapted to serve as Il show instrr;-
ment, for which purpose ii is so often
misuSed. Mr. Du Moulin'S selection
OF q number and his playing OF it did
full Justice to his instrument in this
respect as we'll as to his musicianship,
although the Andante by Gottermann
which he played is slightly monoton-
Gus, lacking variety and contrast
NJ. Du Moulin plays with an unus-
uaIly fine, sustained iegato and knows
now 10 produce an unusually fine, sus-
tained tone from al Instrument whose
toEal possibilities are so rich As an
encore i!e save Nasscuet's Eleg..
Tie pr gram as /, whole was excel
lent, although somewhat miscellane-
Gus, ana was exceedingly Well rem
dered. Taken by itself it was perhaps
somewhat unbalanced through the pre-
dominance OF the strings. but taken in
conjunction with the preceding con
cert-and in this respect the three
concerts II Ust be considered as 4
whole and not indepenGently--tha
GreC0nin nance was iustiti2D!e. 1t Is
SUI " "t's l..''i ia al. 'sSS tilI9 w IL
Got disp!easlrg 10 the large audience.
since most Gf those present apparently
enjoyed ToSt OF all the second num-
Der. the group Of two pieces :cr str;ng
orchestra. Probably to the audience
as wio!o the AndaMte Of TsChaikCw-
sky With its fluent melody its bruaG
@e'odic contrasts, It's structural sin:
ali>ity aud Transparency, WAS tie most
Hl2asirg : G~n hef on The program.
Tho FIRST r;::a.Jc.., II O?GT.u-e :;
Tannhau5er, Is always welcome be
cause of its very familiarity. Incl.
dentally. it is one of the fines; ex
amples OF what an op2ratic ova"tule
can and should be-a real emotional
prelUde to the opera which it nre"Ccia%
The operate overture has gor
through peculiar process OF develop
ment and degradation. In its earlier
days an instrumental introduction to
the opera but having no connection
with it emotionally or structurally. ii
has. in these later days, sunk down
10 the level of a mere pOt-pourri of the
airs OF the opera. The Overture to
TannhaTser is so constructed on two
contrasting themes from the opera it
self. the religious theme of the Pill
grimS' Chorus and the theme OF
earthly love and passion from the
Venus of music, as to foreshadow emo
tionally the conflict which the opera
portrays-the conflict between the
good and evil forces in human nature
Beethoven's Fifth Symphony was
the chief number of the program
Roughly expressed, it portrays emo
tionally tie passage CT passion
tossed soul from the depths Of despair
TO triumph, indicated by the marci,
movement OF the finale.
The audience would have assuredly
enjoyed the concert more had it been
allowed = little breathing spell be-
tween numbers. It was hardly able
20 collect itself after ore number and