Daily capital journal. (Salem, Oregon) 1903-1919, 1912-11-23

-, '''"',O' iloul her lofty height.
+, rerceNed that Woman now may vote
She raised a staff Of harmony w
And DER the scene did float
ANONYMOUS.
A delighted audience listened =,
william Wallace Graham. ylo,inlst
Tuesday evening at the Grand onaro
House, when in addition to Rom
an2e'' Observation-Disclosures, ser.
anade MelancholiQue," p. Tscboikov-
SKY and "Sicilienne and Rigapdop "
Franoeur-Kreister, he gave a splendid
Interpretation of Concerto IN Ma.
Jor), l., van Beethoven: allegro ma
non troppo,' Larghetto-Rondo a mas
nltlcient work by a big composer. and
Concerto (E Minor, F. Won Men.
dlessohn, Allegro motto appassiopato
--Adante-Allegro non troppo-Alle-
gro moto vivace, which is considered
the most perfect and most melodious
of all concertos.
Mr. Graham's work was eptbus-
'astically applauded. With his won
derfully eloquent instrument n Guar.
inarius, he possesses the power OF
bringing out the inner poetic spirit of
the works of masters Of music
This was we'll exemplified in Bee
thoven's concerto, regarded as the
greatest of ooncertos for the violin
From history comes an interesting
story Of the peculiar manner in
which Beethoven received the idea of
his principal motif.
"The composer, whose hearing was
becoming seriously affected was w.
ing in bed in the dead of night and
through anxiety was unable to sleep.
He heard some one knocking at the
door Of a neighboring dwelling, The
knocking consisted of five distinct
blows repeated at intervals. Over
joyed at being able to hear this sound
Beethoven decided to make use Of It
as the principal motif in his concerto
on which he was working Thus in
the opening notes of the tutti" are
heard the subdued rappings and, dur
ing the first movement of the oon-
certo they go through all shades Of
tone, expressing musically the feeling
Of the person knocking, from hushed
tappings to the fortissimo crash as
though he had flown into a rage at
not having been heard earlier"
The Larghetto opens with a theme
in the accompaniment with an obll-
cato for the violin which soon takes
up the principal theme, which in this
movement is Of a subdued and peace
full character, ending with a short
cadenza from which the concerto runs
into the rondo, portraying a hunting
scene. The three cadenzas are by
Joachim, from whom Mr.. Graham re-
ceived instruction in Berlin.
Mr.. Graham is a master Of the
bow" and his spring bowling is won
derful. His chromatic scale tech,
niQue Is equalled by few viollnists
His playing is almost too exact, and
an error or a discord now and then
would be a relief, for then the audi
ence would dare breath occasionally
Mr.. Grahams last two numbers
we're delightful examples Of the mod
ern school Of violin composition and
were charmingly given.
Mr.. Edgar Coursen's accompanying
was as grand as ever and his work
in this concert was a pleasure to the
audience.
Miss Waters voice is a rare dra-
matte oontralto, end until last night
this singer was unknown to a Salem
audience, but from now on she VIII
need very little introduction. In ad-
dltion to possessing a beautiful voice,
Miss Waters is regarded as one OF
the prettiest Of Portlands women
singers. Hers is not only A voice OF
true and rich quality but she pos
sesses the power Of coloration, which
gives tonal beauty. Particularly beau
tiul is her lower register Her high
er notes, clear and distinct run to
high a." The selection from
oNadescbdao was most difficult and
Mise Waters rendition was perfect
and very lovely
oLugi dal caro- bene" secchi, "Ah'
NV Heart is Weary Cfrom Mad
escbdaY, by A. Goring Thomas and
epcores made up her numbers. MISS
t.1,. Go IiptiOu and the
ease with which she enunciated was
very noticeable.
Her encores, sung in English were
dainty bits Of music
This concert was one Of the best
Itbat has been presented in Salem
ssF
In order to accommodate the increaS-
/ ,,.,.olrro.nt of the Oratorio Society
. .' T.r.H TaUFnYyHN "A