Omaha daily bee., 1912-03-17

MethuuIst chufNh Iuesuay
evening proved to be one OF
t&1XIX the chief miiestones of the
9 musical winter. Mr.. Clark is
| justly famous for his beautiful voice. but
far and above everything else. he Is an
Interpreter. and his Interpretation Is
thoroughly legitimate. He sinks his own
personality absolutely In the song. You
are conscious OF the idea he has TO con-
yey, not OF him. He does not require
any particular Kind OF song TO exploit
his powers. He Is great enough to take
the simplest melody or the most COM
pick writing and illumine each equally
well.
| Mr.. Clark's first appeal is TO the intel
lect of his listeners, as a well educated.
cultivated man. His French is exquisite
and his German and English beyond re-
proach. He has a big broad foundation
upon which to build his music. Added
to all this he has warm. sympathetic
temperament and a most delicate sense
for tone values.
What a delight and pleasure to listen
10 such mani In this day and genera
ton beautiful voice is not enough. An
audience that is worth while requires
brains behind II.
Mr. Clark opened his program with a
group OF eighteenth century songs, given
in the French language. as both Sacchinl
tan Italian and Gretry "a Belgian had
even stronger affiliations with Paris and
the French than with their own native
countries The recitative and air from
''oedipe a Colone." the masterpiece OF
Sacchinl. introduced the group. Then
came the "Cavatine dc Cephale ct Pro-
ems" OF Gretry, given with exquisite art
and vocal finish. Gretry is considered
an epoch-making genius in French comic
operas appeared In different theaters In
Paris. He was called the "Moliere of
Music" Mr. Clark chose his DE ma
Barque legere" to close this group.
The five songs Of Arthur Hartman
revealed the modern note IN song build
ing. They were very Interesting. The
first one. "Letztes- Gebet." was sung
with wonderful depth and certain
mysticism which was most impressive.
"a Fragment" was indeed but frag-
ment. Little pegs OF musical phrasing
and a few magic words whereon to hang
ones own imagination and fill In the
story. Mr.. Clark Is wonderful In his
power OF imparting mood. All the
while he suggests. and the more the
listener has TO give back the moro he
gets from Mr.. Clark's art.
In "a Child's Grace the simplicity OF
Robert Louis stevenson's little poem was
kept. The Ballad gave the dramatic
color needfui for contrast.
The Debussy group was one to tax the
powers of'any artist. 1t was most re.
markedly sung Les cloches" and the
"Mandoline" have both been sung here
many times but never as Mr.. Clark gave
them, with all the little details clean and
understandable. and the atmosphere kept
absolutely French. The rondel. lie
Temps a aIssle son Manteau." was In
teresting and the "Ballade des Femmes
de Paris was n sort OF cosmopolitan.
riot OF tone and descriptive composition
with a dramatic climax, immensely diff
cult. Debussy must have composed II 10
some particularly wild interval. Mr..
Clark made II vastly effective.
Arthur Durham Is an American.
Chicago orgsnist His TWO songs were
very distinctly good and attractive. The
singers delivery of the lines 'All these
leave srne-you remain" in Memories
very likely sim fingers in the minds Of
many. The Pilgrimage" was Impressive
with its effect of marching. and tho
search for an ideal. which as always.
was found In the end quite close by.
THE Lowest Trees Have Tops" by
Beale. might be called an example In
symbolic composition. and Carl Busch's
Eagle" scared to good purpose.
sinding's "Fuge' was sung In the
original Norwegian and 1t was vocal
feat Of fine proportions. full Of life and
yerve and color.