The Washington herald., 1915-01-27
'KREISLER'S BOW
GRIPS HEARERS
Washington Music Lovers De-
mand Many Encores Of
Violinist.
WILL PLAY HERE AGAIN
To Appear in Individual Program
February lo-Mme. Endert
Assisted Yesterday.
WILL PLAY HERE AGAIN

1t would not have been really fantastic
if yesterday afternoon at the New Nation
al Theater the throng had been confront
ed with some such words as these: You
who enter here leave behind all sordid
business. for within, the soul OF music,
imperial, will not endure a hint of the
ugly world without" 1t would not have
been really fantastic. because, in fact,
this is what Ereisler's violin playing
symbolizes. The everyday, jog-trot
world is left out. He is eminentIy the
violin rhetorician who amuses himself
chief poet of tone delineation: he builds
Up marvellous fab cs of fancy; endless
variety of tone tissues; rarely portray
ing a substantial image or defined emo
ton.
. This ideal of pure tonal beauty to which
Kreisler so consistently conforms, infiu
enced, no doubt, the choice in his pro-
gram of a. Handel sonata, a Prelude and
Allegro of Pugnani, a Mozart rondo, a
Mendelssohn Song without wordN as well
as the encore after the second group of
numbers. the 'Chanson ct Pavane" OF
Couperin. All these are in the class Of
music that exist for pure beauty of line
and tone. Even in the Schumann Ro-
nance there was little insistence on any
mood or definite emotion. Beautiful
tone, stalwart tone, as in the simple Pug
mani prelude; fine gossamer threads of
tone as in the Mozart cadenza and in the
DvOrak-Rreisler Indian Lament; fresh
ness and vigor as in the Slavic dances
and always the clear, perfect diction in
rhythmic and melodic line-this is Kreis-
Ter.
VIII Appear Again.
In his own co--positions. down on the
program. and his Liebesfrent, which he
played as the final encore, Mr.. Kreisler
gave himself freer rein in expression Of
sentiment. Mrs. Townsend's "Berceuse'
WIS the other OF the final encores. Wash
ington audiences rarely let themselves
go as the audience of yesterday in its
mad clamor for more. and Mr. Kreisler
was kept walking out on the stage. at
the last. with his scarcely perceptible
limp and his half-detached air Of compli-
ance, until those last two beautiful extra
numbers were granted.
Mr. Kreisler will appear here again
February 10 in an undivided program.
Nine. Van Endert, who assisted yes
terday interpreted Brahms ''VergebIiches
Standchen" so artistically as to quite
cover the defects Of utterance and style
in the first number. Brahms ''FeldeIn-
samkeit." The "Heimweh'' of Wolf was
also superior to the ''wiegenlied" of the
same composer. which came before. The
Dutch Serenade," by Lange. was very
beautifully done; so was McDowelPs "a
Maid Sings Light" Best or all was
Leonrs THE Leaves and the Wind. &"
The effort of voice, the stringent breath
ing almost wholly disappeared in these
latter. quite disappeared in the last. and
were, moreover, vivid reallZations Of the
poetic themes. Nine. Van Endet has a
charming personality and good style.
Mr.. Carl Lampson proved himself an
accompanist Of the highest ability.
Nine. Orner Sings.
1t is seldom ones lot to listen to a
voice at once so good a natural organ.
so badly and insufficiently trained, as
that of Mime. Inga Orner. the Norwegian
soprano, who sang for the Scandinavian
Club last night in the Washington Club
rooms.
In the simple songs Of her country. in
medium voice, her tones were beautiful.
The high tones were a pitfall. The char
acter OF her voice is strikingly sweet and
youthful, its latent possibilities Of the
highest She has youth, grace. intelli-
gence and the natural gift of song. Her
program ranged through the best Scan
dinavian composers-Kjerulf GreiG.
Svendsen. Lembeke, Grondahl, The most
beautiful Of all was the Rose MARI Of
Collan. In quantity broken English Nine.
Orner sang a group Of American COM
posers She wants only good and long
training to realize truly her advertise
ment as a great soprano" G. S. w.