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Show ZOEUJER QUARTETTE PLEASES AUDIENCE AT TABERNACLE The Zoellner string quartet of Brussels, Brus-sels, assisted by the Ogden Tabernacle Taber-nacle choir, appeared in recital at the Tabernacle last night, closing the Fred G. Graham-Tabernacle choir series se-ries for the 1 f 1 4 1 5 season. To say that the event was a rare treat would be but a most conservative description descrip-tion of It. as each member of the family fam-ily is a technician of the most finished fin-ished type and possessed of the Interpretative In-terpretative insight of the genuine ar tist. Collectively, last night, they performed easily the most perfect ensemble en-semble work that has been heard here in years or that the most ardent lover of symphonic melody could well wish to hear. In each number the quality of tone was rich and full, attack precise, intonation in-tonation sure, unity perfect and in fact it seemed, in the straight quar tet movements as though the music was by one player playing in chords The program presented was strictly classical, a term, by the way, which has in times past seemed to appall the average lover of music but through concerts such as have been given in the Tabernacle this winter by master musicians is fast becoming known in its true nature, which is the power to reach the soul and is no respecter of persons. And so this program of chamber music last night by the gifted Belgian family, though a long one, delighted the fine audience that gathered in the Tabernacle to the extent of calling call-ing for several encores, some of which were granted It consisted of two movements of Beethoven's master quartet composition for the strings. "On 18. No 2," the Allegro and Ad agio Cantabile. serving to put the audience au-dience under the spell of the players play-ers for nearly twenty minutes, the only break in which wa6 a round of applause at the close of the Allegro The second number was the quartet, quar-tet, "Op. 13," IppolitoMwauow, a dainty Russian composition in two movements, humoresca and intermezzo intermez-zo The second movement proved so delightful that an encore was demanded demand-ed and the players responded with "Minuette," by Yallusln. The only solo of the evening followed and was the "Canzonetta from Concerto in D" (Tschalkowsky ) for violin. This was played by Amandus Zoellner and the rendition proved him a master of the instrument. An ovation followed and he played the exquisite "Liebes frenH " hv Krelsler The (losing group by the quartet consisted of two numbers, the Andante An-dante Cantabile, from 'Quartet Op. 1," Tschalkowsky, and "Suite Op. 35," Glazounow. The latter number was in two movements. Scherzo and Ori-entale Ori-entale and the closing one was a remarkably re-markably descriptive composition and remarkably well executed Its rendition rendi-tion made the audience unwilling to accept it as a parting number and the deeply charming Therm composition composi-tion "Genius Loci" was played. From the reception given tho quartet throughout the evening. It is prob able that the visit of Joseph Zoellner, Zoell-ner, Sr., Antoinette Zoellner, Joseph Zoellner, Jr., and Amandus Zoellner to Ogden, will remain as a pleasant memory with Ogden muBic lovers for some time to come. The Tabernacle choir alternated with the Zoellners on the program and in the Sextette from "Lucia" achieved its biggest success for the present season, not excepting that ot the Alhambra theater opening The soloists in the madrigal part of the number were Myrtle Bellinger Higley, soprano, Mildred Ware, contralto, Douglnss Brian and Edward Saunders, tenors; Leslie Seville and Walter Stephens, Ste-phens, bassos Their singing was a revelation to the audience and with the support of the big chorus, admirably admir-ably directed by Prof. Ballantyne, was so thrtllingly sustained that an ova-j ova-j lion of applause followed the rendition, rendi-tion, and would not be stilled until It was respected as an encore. The other numbers given were the sublime sub-lime sacred chorus. "Babylon's Wave " (Gounod) than which the choir could have nothing moro majestic in Its repertoire, the exquisite temperamental temperament-al chorus "Woo Thou. Sweet Music," by Elgar and the popular choral arrangements ar-rangements of "La Paloma" (Vradier) and "Drink to Me Only With Thine Eyes'' (Old English). Each was ghen with tho full interpretative insight which it demanded, the blending of olcos being highly satisfying, attack and release precise and iu every way worthy of the applauae which followed its rendition. Not only were the Ogden people pleased with tho work of the choir, but the visiting musicians were surprised sur-prised and expressed themselves in terms of high praise of the local chorus and its director. The organ accompaniments by Sam F. Whitaker were admirably executed aud proved a big support to the choir. |