Daily capital journal. (Salem, Oregon) 1903-1919, 1916-03-08

erringly find their mark but the sew
enth is possessed of the evil spirit and
fails to hit. This weirdness was we'll
expressed by the deep, slow chords OF
the instruments. 1t was colOrful, too
with the lightness of taistle-down, and
the sparkle Of fountain; with the in
reference of the evil, the music is
charged with apparent diseord uneasi-
ness but finally passes to a happy, sat
isfying climax. The ensemble work of
the quintet-first and second violins,
cello, organ, and piano-wls a remark
ably effective, and held the audience
completely in the magic spell of the
music 3 charm.
In Wagner's "Thannhauser is
struck a note of the unusual. 1t is said
Of Wagner that he wrote for a long
time without any appreciation but,
when he once was discovered, he was
at once a universal favorte. His mu-
sic reveals a soul-struggle of the char
acters shown especially in "The Pill
grim S Chorus, and tne calm spiritual
depth and inspiration in Evening
Star. " The Wagnerian trio included
the March" which, according to the
composer, was not to be marched to but
to serve as a theme-setting for a jolli-
ficatiOn.
Although Mss Helen Fortune plays
the violin with fire, DASH and express
ton, she also sings remarkably we'll
in fact, sne sang so well the audience
was loath to leave her go. She sings
not only with her vocal chords but with
her heart, he whole being. In the high
registers her tones are clear and sweet
and under perfect control 1t was like
listening to the songs of the fairies in
the rosy dawn when the earth sparkles
with dew-iewels For encore she sang
81 Love You, and, though the audi
ence wished more, was compelled to be
satisfied. However, later she sang Car
rie Jacob Bond s "a Perfect Day"
with such artistry that the audience
was again at ner feet. To this she re-
sponded with light, lifting selection.
1t was in the selections from the Op-
era, "Carmen" that the first taste of
the sweetness of Harry Klplan s cello
was discovered The warm, passionate,
fiery music that thrills the hearts of
the Spanish caballero and tine fair SEN
oritas of old Madrid fitted the vibrant
soul Of the cedllo; and under Kaplan s
skilled hand, the instrument lived and
sang. The swinging, pulsating measures
Of "The CabalerrO" and "The Tor
eador" songs stir pulses whenever and
wherever heard. This was sort of A
prelude to Kaplan S solo, when he play
ell A Ballade" by Friml. To this ex-
quisite piece of work he was compelled
to give three encOres.
For mis- solo numbers c. Lampert took
two folk songs of Id Vienna, translated
for the violin by Fritz Kreisler. They
were the "Liebes Freud and "Vi-
emma Caprice, each of which shows
the Hungarian temperament at a diff
ferent angle. He plays with a mas
terry of technic and keen insight into
the meaning of the composition. Both
were well-received and thor
oughly enjoyed.
The only number that did not bear
the romantic imprint was "In the
Clockshop." This selection was mainly
for the children and was of a humorous
nature. There were tne ticking clocks, |
the cuckoo, and the Ginning clocks, all
at once, punctuated by the
rattle of the alarm clock.
Though they did no solo work, Mrs.
Harry Kaphn, as the pianist, and Mr..
Carl Fortune, as the organist were both
much in evidence in the ensemble num-
bers. Mrs. Kaplun accompanied for the
soloists.
The program closed with several stir
ring movements from Gounoud S |
50 Faust"