The Birmingham age-herald., 1910-03-13

MT. klenk of sentiment-a depth of feel ing which, of course he has-henee his playing, which Is not only intellectual and technically superior. but, sonorous, com polling and poignant, displey ying number less nuances of feeling.
 Apropos of his failure to understand The woman who could part with her fathers cello, when asked Of his own people he laughngly touched a copy of the Satur- day Evening Post which lay on his desk If father were dressed like that. 1t would be dandy picture of him. he said. The picture is d quaint old person muffed to the ears in greacoat and cap. merry smile plays about a face destitute of mustaehe but bordered by d fringe of white beard. Eyes look out quizzically from a pair of spectaeles perched on the bridge of high nose, and the whole face. sensitive and cleanly cut, expresses the shrewd good humor of the German. It was the failing health of this father some years ago which brought MT. Klenk and his mother away from Cincinnati to Florida and later Vinemont, Ala, where the family homestead is now established. l To one unversed in violin lore it is as- tonishing how easily an expert eau de- ltect the difference between the instru- ments marked s1620a and actually prod uct of 1895, and the real thing. For such are frequently brought to his studio by people who in many instances have told the story of the aged music box until they believe it. Sometimes they them selves have them duped, and then it is pa thetc A few days ago Stradivarius (supposedly) was offered to MT. Klenk for s75. Even before examination he knew that the violin could not be genuine, else it's cost would be greater. At last he per suaded it's owner proving by his own ex- pert reasoning and by the photographs of the instruments of the Cremona school which hang on the walls of his interesting studio, that this was not one of the great ones of the earth. There are a few little tragedies and some comedies enacted there when his opinion is sought, but 1 think MT. Klenk is always kind to the deluded ones, for he knows that ones violin is his hearts treasure.
 Discussing tlie relative values of instru- ments, Mir. Klenk suggested that there is much dependent on the musician him self. There is whole world of feeling imprisoned in the miniature walls of the violin, and the tones called forth by one performer may be untouched by another, so that the very identity of the vi6.-n may be unrevealed. Thus he played once in Cincinnati on an Amati highly prized by its owner. and the man remained in- attentive and untouched. After time, grasping his own instrument, Mir Klenk executed another number upon it. and the possessor of the Amati whispered enthu- siastically to his neighbor. My violin, my own Amati would recognize it's tone
 anywhere" And yet the scope of the vio- lin in the hands of even the best player is so varied. Dashing off with consun- mate skill a passage calling for dazzling execution, rapid lowing restrained deli eacy and gentle melancholy, he discarded one instrument and played again on an- other; Illustrating the greater possibili- ties of the one. They are like people he said. Some are so superficial that they have little to give. Others no mat ter how great are the depths you have sounded, you feel there is still something else there. rare and beautiful, that you may some day reach.
 And so his violns are to him his coin- panions. giving always something new and beautiful, for what cannot g violin express when the soul that guides Ii is that of an artist?