Newspaper Page Text
"n?WS^AND" ?MM^^TJF^?DN^pf^^SfD^ operaH
A Revival of Meyerbeer's Operas Backward Swing of the Operatic Pendu? lum? Various Portrayals of John of Ley den ? Italian, German and French Prophets at the Metropolitan?Dramatic Absurdities?Swedish Matches in the Sixteenth Century By H. E. Krchbiel Wc have long ago quit looking for significances in the repertories presented season after season at our opera houses. Scarcely a lesson which might have been elrawn from them during: the last thirty years has remained a lasting influence. The deepest impression, no doubt, was made by the German seasons from 1884 to 1891, at the Metropolitan Opera Iiousc,but practically all that was accomplished then was the development of popular knowledge and admiration for the later operas of Wagner, which were novelties?"The Ring of the Nibelung," "Tristan und Isolde" and "Hie Meistersinger." These works extended the lists notably and created a new mood in a large element of the audience and a somewht more rever? ential attitude toward the lyric drama than had prevailed thitherto; but they did not destroy the hero worship which has characterized operatic history ever since the invention of the art form. Young women gasped and held their breath when Alvary, the god of their idolatry, appeared in his shapely tights, curly hair and picturesque bearskin, and Mme. Lehmann accepted the plaudits of the multitude gratefully, albeit with the stately composure of tho consciously sincero artist. Then there were Niemann and Brandt, enthusiastically acclaimed by the sober-minded cognoscenti. and Seidl, the conductor, not quite stout-fibred enough to keep his head from being turned a trifle when he found himself the object of as much adu? lation as any prima donna. But though it may not be of moment in the evolution of the lyric drama, it is at least curious to note that the operas to which we are listening to-day at the Metropolitan Opera House are largely those to which the operagoers listened a generation ago. Of the current list no fewer than ten operas were given in the first Metropolitan season?from the fall of 18S3 to the spring of 1884. In Mr. Abbey's list! were "Faust," "Carmen," "Lucia di Lammemioor," "II Trovatore," "La ? Traviata," "Kigoletto," "Marta" and "II Profeta." Also "I Puritani" and "II Barbiere di Siviglia," which we may expect soon. At the Academy of Music about the same time the public heard most of these and also "L'Elisir d'Amore" and "A'ida," which are conspicuous in the current li^t at the : ?Metropolitan. | We seem to have reverted to an old type of repertory, and are making : a vastly greater hullabaloo about it than was made by the operagoers a ; generation ago. Small cause for wonder. The operagoers of thirty-four years ago were more familiar with the art of song than are the audiences of to-day. One swallow has made a summer at the Lexington Theatre, but then the public was being regaled by four singers of the highest type in ! the operas to which we are listening now?Nilsson and Sembrich (to say j nothing of Scalchi) at the Metropolitan Opera House and Patti and j Gerster at the Academy of Music; and for our Caruso the people of those days, decidedly more critical than the present generation, had Campanini ?nd Ravelli. But enough of that; we are not going to descant on the decay of singers or the decline of song. What started these reflections was the revival of "Le Proph?te" at the Metropolitan. In its Italian guise as "II Profeta" it was the last opera produced by Mr. Abbey in the first season of the Metropolitan, and in its German version and the original French it remained in the repertoires of Mr. Stanton and Mr. Grau till ; fourteen years ago. The operas of Meyerbeer were familiar as twice-told I talcs to the generation preceding the present. "L'Africaine" was brought forward by Mapleson at the Academy of Music, with Minnie Hauk and Campanini in the principal parts, and after the German seasons at the Metropolitan bad come to a close Mr. Abbey incorporated it in his scheme. He also gave us "Robert le Diable," with Mme. Fursch-Madi, Mme. Val leria and Signor ?Stagno in the cast. But Meyerbeerian high water was , marked by Mr. Gran's gala productions of "Les Huguenots," with Sem? brich, N?rdica, Mantelli, the brothers de Reszke and Maure!. Those were tho days of the Titans. Once when Jean and Edouard do Reszke and Lassalle were bowing their acknowledgments simultaneously before the curtain The Tribune's reviewer entered a baignoir and remarked to Mme. Lehmann that it was a bit thrilling to look at three such splendid speci? mens of manhood on one stage at the same time. "Indeed it is, and they might be equally large as artists if they would but study!" replied the lady, who had constituted herself the standard-bearer of German art in Abbey and Grau's polyglot aggregation, and was, perhaps, thinking a little regretfully of the days of Albert Niemann. ..... < Meyerbeer's Opera in the Early Days Meyerbeer's "Prophet" lias been known to New York almost as long as it has been in existence. It was per? formed for tho first time in this city (and also in this country) in 1853. Tho manager who introduced it as a novelty was Max Marctzik, who perved for a time as musical director for Mr. Edward Fry (brother of Mr,, W. H. Fry, who was The Tribune's musical critic for a considerable time, as well as a composer of English operas) at the Astor Place Opera House. In nothing did Mr. Marctzik's energy as an opera director appear more plainly than in the promptness with which the then latest of Meyer? beer's creations was given to the New >Vork publie. "Le Proph?te" v.ns only four years e?!?l at the time, its first performance having taken place in Paris on April 16, 18*19. But il was in a period when despite the most varied vicissitudes Italian opera was being cultivated with a zeal scarcely com? prehensible now. Then the art form, ?scarcely morn an exotic than it is now, shifted its homo every few months, now housed at tho fashionablo new opera house in Astor Place, anon at Niblo's Garden and next at Castle Gar? den. The last place was frequently the scene of summer seasons, and there vus actually so much Italian Opera sung m the city that it is al? most strange that all theatrical enter? tainment:; in the vernacular d'd not come to be looked upon as vulgar. Jenny Lind was singing operatic airs at Ca8tlo (?arden; .Mme. Anna B'shop (who had run away from the composer Df "Homo, Sweet Home" with Bochsa, ? harpist i, with a voice and execution that kept her high in popular estima? tion in spite of the furor causeil by the Swedish Nightingale, was warbling ?peratie airs at Tripler Hall, and ?mong the multitude of singers in the rival opera companies that were striv? ing to get the public's money were Signorc Truili, Amalia Patti, StctT ?none, Bosio, Toiksco, Borghese, I'a rodi and Bertucca ami the Slgnori Ucncdctti, Corsi, Morini, Lorini, Korti, Palvi, Lettin i ami Badiali. Whither haa their fame departed? How many i of our readers can recall one of them? Yet we', even wo, heard Mme. Bishop and chatted with ber about tho author of the words which .Sir Henry, her erstwhile husband, immortalized by his music. (The occasion, wc believe, was the bringing back to his native land of the body of John Howard Payne.) And though we never heard Mme. Bertucca sing, we have often beard her harp solo :n the first act of "Lucia" when, as Mme. Maretzik, she sat in the orchestra of the old Academy of Music. It is one of the anomalies in the his? tory of "Le Proph?te" that not to the Italian or French, performances but to the Gem?an the opera owes the greatest part of its life on the stage of the Metropolitan Opera House. The opera was given nine thjlfts in the first Ger? man season and the majority of the performances heard in New York woe in tho German language. When Or. Leopold Damrosch produced it it ri valleel the Wagnerian operas of his list in popularity. Since Mr. Abbey brought it forward in the season of iSSa-'St, when the theatre was new, v??? have heard three representatives of the titular character in Italian (Stag no, Tamagno and Jean dc Reszke), five in German (Schott, Sylva, Niemann, Perotti and Gudehus) and two i:: French ( Alvarez and Caruso), That the opera has never been popular iu the senso that Puccini's operas are popu? lar is no doubt due to the great diffi? culty of finding adequate representa? tives of its two principal characters ami the depressing effect of the sing? ing of those three black crows, the Anabaptist missioners, unless the parts are carried by vocal artists of the first rank; tho only instance of which that we can recall was in the performances under Mr. Grau, when men like Edouard de Reszke and Plan?on were called into service. The principal part ;n the opera, from a dramatic point of view, is that of Fides, a mezr.o-soprano r?le ?which calls for a combination of gifts rarely found in a ringle, artist. We have hearel excellent singers in the part, but Mine. Viardot-Garcia is the only singer who stands in the lists as meet? ing the ideal in all respects. After her retirement Mme. Tictjena achieved ! a notable success in the part in Lon i don, during a short season, when the j forces of the older type and Colonel j Maplescn were combined in a pro 1 duction of the opera. After Fides, and moving on almost as high a plane, comes John of ? Leyden, and though robust tenors i are more numerous than mezzo* : sopranos or contraltos with vo j cd and histrionic abilities commen ! surate with the task set by Scribe , and Meyerbeer, they are nevertheless not plentiful and never were. How Roger, the original .lean, sang an'! cn actod the part we do not. know, hut it is a bit singular to hear from Mr. Chorley that the Jean of Mario, preem? inently a singer of elegance and grace, reminded him of "some bishop saint in a picture by Van Eyck or D?rer," We fancy that tho ideal representa? tivo of the character would be a com? bination of Alfred Niemann and Jean dc Reszke. "The Prophet" at the Metro? politan The first performance of Meyerbeer's opera at the Metropolitan took place on March 21, 1884, in Mr. Abbey's spring season. It was an only performance, and not notable for anything beyond the singing of Mme. Scalchi, who suc? ceeded in putting something liko in? spiration into the generally stagey ane self-conscious tenor Stagno by her ex? hibition of dramatic power in the cli max of the opera. And Mine. Vallerif was a very satisfactory Bertha, thougl" not so unconventional a figuro as w? learned to know in the German season: which followed. The first of the Ger ?nan Berthas was Mme. Schroder Ilanfst?ngl, i hen ranked as one of th< foremost coloratura singers of the Ger man stage, though already., a trifl? passe. She left the company before tin end of Oie season and was succeeds? by Mme. Seidl, who still retained he: maiden name of Kraus and was i charming ingenue, markedly in con trast with her successor in the r?le who was n?j less a personage than Lili Lehmann. The original German Job cus tli? highly explosive Anton Scholl whom Dr. von Biilow dubbed an artil lerist, because of his habit of "dis-des und dctonirung." The second was Ele Sylva, who afterward went over to th ?orecs of the National Opera Comparo but sang no more tunefully in Englis than he had sung in German. In tlics performances as well as all the other until 1888 Marianne Brandt sang th role e>f Fides the finest of the man fine performances of a great artist an? we: ?re mov? d to say, the finest eve given to the part in the United State; The season of lo'-'ij-'S? was made men orable by the coming of Albert Nie matin and the representations of "De Prophet" by his collaboration wit Fr?ulein Lehmann. Old opera patror will not need to be reminded thf vocally Herr Niemann had long passe his prime when he came to the Upite 'States. His impersonation, repeated i M:e following season, was exceeding! irying t?;> his voice, but dramatically i Histrionically it strengthened tho a ready strong hold which his Siegmun had made upon the admiration of tl public. He began with fine rcstraii and composure, and developed a stril ing picture of the growth of a trag character, in which the struggle b tween noble and i^iie?bie impulse from an honest religious fanatic to Sardanapalus, was vividly portray? and the final catastrophe present? with lurid forcefulness. In his secoi season Biro dc Marion, whose nan awakens no memories, shared the ro of Bertha with Lehmann. Juli' Perotti replaced Niemann in lS88-'? and was associated in three represe tat ions ?.'.? it h !?': ai: Moran-Olden (Fide nnd Alma Folis tro m ? Hertha). Perot made us regret tho departure of Ni mann, disclosing, as he ??id, that all w not ii??iie vit h Meyerbeer when h notes v. ere sung ;:i tune, as they we by the new tenor and as they had n been by the old. Perotti's John of Lc ?le;: was barren of all the dignity a nobility with which Xiemann had i fused the character. There was no pi formancc of the opera in l8S'J-'90, a only one in 1890-'91 when Mine. R ter-G?tzc carried off all the honors Fides, dwarfing the efforts of Gin hus as .lehn and Mielkc as Bertha. This was the last of the Germ representations of "Le Proph?te." a vote o\' the. director-? of the compa which owned the opera house Itali opera -Aas restored under the mana?, nient of Abbey and Grau, who retain Mme. Lehmann as a sop to t German Cerberus. With Abbey a Grau caino Jean de Reszke, who, -when "Il Profeta" was given again, made the ! most telling disclosure of his artistic ! stature that had yet been made. His j impersonation of the Prophet was, in l deed, one of the finest achievements I recorded in the history of the Metro ' politan establishment. Since we have : referred to other Meyerbeerian operas ; in this resume, it may be added that 1 this was the year when Miss Van Zandt ! was permitted to chase Dinorah's goat , across the stage after that animal, scarcely less foolish than, its mis ? tress, had been permitted to sleep twelve years, the last preceding per? formance of the opera having taken ! place at the Academy of Music. Only a few days ago The Tribune's musical memorymonger met Mrs. (liarles Monson Raymond that is, Mrs. Annie Louise Gary that was, and we tried to recall that earlier performance. "I re? member that I sang the part of the Caprario," said the lady who, when she retired from the stage, was as widely loved as she was admired, "but who was the Dinorah? Was it Marimon?" Now came another hiatus, (after (vhich, in March, 1899, ihe opera was revived in Italian with an extremely strong cast: Tamagno as John, Leh? mann as Bertha, Brema as Fides, Ed? ouard de Reszke as Zacharias, and Plan con a3 Obertha!. The robustious tenot was a towering figure, physically a? well as vocally, but he seems to have done little moro to The Tribune's re? viewer than to recall some of the earlier days: "Yet there were some pleasant memories connected with the representations which had been giver at the Metropolitan. The admirers o! Albert Niemann arc not likely, ever when recalling his noble achievements in the Wagner dramas, to forget the marvellous dignity and tenderness will which he infused the scenes wit) Fides, especially the cathedral scene, oi vtho tone of exaltation with which hi eleclaimctl the dream recital in tin second act and the prayer in the thirVl Was it singing? Opinions differed; bu en one point all were agree?! it vas ? tremendously moving dramatic impcr sonation. A few years later, whei German made way for Italian as th official language of the Metropolita! opera, Jean de Reszke showed hot beautifully, yet stirringly, the musi of the part could be sung and how it purely musical elements could be h'fte into such prominence as to win pardo for much of its dramatic hollowncss, . noble, a commanding, a m?'igr>etic tip uro in appearance and bearing wn M. de Reszkc's Prophet." By this time Mr. Gran's system 0 giving eneras in the languages fo which they had been composed was i full swing, and on March 10, I'JU' Mine. Schumanr.-Heink made her fin French essay as Fides, the other prii oipals being Alvarez, Edouard de Re? ?tko and Susanne Adams. The perforn anee was not an unalloyed deligh The Tribune's critic observed that t! performance, which promised at tl outset to go well musically, \vi marred by inconceivably bad staj management, and occasionally renden ridiculous. There was scarcely a m ment when the listener could feel su that a disaster of some sort was n impending. One incident, as amusii as it was absurd, deserves to be remet bered. What was the use of Meye beer and Scribe writing a sensatior trio, punctuated with the clash of fli and steel, if instead of the tintler bur' ing into flame as the result of the e crtions of one of tho 16th centu Anabaptists he should illuminate t features of Oberthal in the tent see with a Swedish safety match at t end? A locofoco more than two ce Calendar for the Week SUNDAY.?Aeolian Hall, 3 p. m., song recital by Eva Gauthier; Carnegie Hall, 3 p. m., song recital by Giuseppe dc Luca; Metropolitan Opera House, 8:30 p. m., popular operatic concert; Hippodrome, 8:15 p. m., operatic concert by the Chicago Company; Ritz-Carlton, 3 p. m., concert for the Society of the Friends of Music; Princess Theatre, 3 p. m., song recital by Antoinette Boudrcau; Greenwich Village Theatre, 8:15 p. m., dancing by Michio Itow and others. MONDAY.?Metropolitan Opera House, 2 p. m., special matinee, Italian opera, "Aida"; 8 p. m., Italian opera, "Le Nozze di Figaro"; Lexington Theatre, 2 p. m., special matinee by the Chicago Opera Company, French opera, "Rom?o et Juliette"; 8 p. m., French opera, "Le Sautiriot"; Car? negie Hall, 8:30 p. m., concert by the Paulist Choristers of Chicago; Aeolian Hall. 3 p. m., pianoforte recital by Jessio Wyckoff; 8:15 p. m., concert of chamber music by the Berkshire Quartet; Princess Theatre, 2:30 p. m., violoncello recital by Paulo Gruppe. WEDNESDAY.?Carnegie Hail, 3 p. m., conceit by the Paulist Choristers of Chicago; Aeolian Hall, 3 p. m., recital by May Mukle, 'cello, and Rebecca Clarke, viola; Metropolitan Opera House, 8:15 p. m., Italian opera, "Rigoletto"; Lexington Theatre, 8 p. m., Italian opera, first per? formance in New York of Mascagni's "Sabeau." THURSDAY.?Carnegie Hall, 8:15 p. m., concert by the Boston Symphony Orchestra; Aeolian Hall, 3 p. m.. song recital by Florence Hinkle and Herbert Witherspoon; Metropolitan Opera House, French opera. "Thais"; Lexington Theatre, 8 p. m., French opera, "Fans'." FRIDAY.?Aeolian Hall, 3 p. m., song recital by Boris Saslavsky; 8:15 p. m., violin recital by Mayo Wadler; Lexington Theatre, S p. m., Italian opera, "La Traviata"; Metropolitan Opera House, 8 p. m., French opera, "Le Proph?te"; Brooklyn Opera House, 8:15 p. m., conceit of the Boston Orchestra. SATURDAY.?Carnegie Hall, 2:30 p. vn.. concert of the Boston Orchestra; 8:15 p. m., concert of the Russian Symphony Society; Aeolian Hall, 11 a. m., concert for children by the Symphony Society; 8:15 p. m., violin recital by Sascha JacobinotT; Metropolitan Opera House, 2 m m., French opera, "Marouf"; 8 p. m., Italian opera at popular prices, ".Manon Lescaut"; Lexington Theatre, 2 p. m., French opera, "Thais"; 8 p. m., opera by the Chicago company; Brooklyn Opera House, concert by the New York Symphony Society; Horace Mann Auditorium, Columbia Uni? versity, concert by tho New York Chamber Music Society. turies before the opera was composed or the safety match invented! Mr. Alvarez, it may be added, poured out ringing high tones copiously and em? phasized them with a heavy foot, but his tonal sophistications were too nu? merous for enjoyment, or con com? fort. There were no performances of "Le Proph?te" at the Metropolitan in the next two season?, and live (with Schumann-Hcink and Alvarez) in 1902 1903?tho last year of Mr. Grau's r?? gime. Then came Mr. Couricd; the rest, till last Thursday, was silence. Programmes for the Week SUNDAY Song. recital by Giuseppe ele Luca, Carnegie Hall, 3 p. m. Lascia ?'V i" planga. Handel ? an? m?o l"'i?. Giordanl Vlllanclla . Fali'Oiilerl i: v,-..,.,-..i si i a :>.-.?. (from M.S.).Vacca> lloau Solr . Debussy 1'hidyla . Duparc iuaii'l :a hacho tombe.G retch anmalt Berceuse . Grctchautuoff Aria, "A tasto anior," rr'.un "La Favorita." Donlztttl Abseile? .Jainoa II. Rocera 'ii?l Bless "^ ??vi .Arlados Holme-, Kd wards swing 1.' ?.?.', Sweet Chariot.II. T. Hurlulgh ll.v an' Bj.If. 'P. nmleljl? t'ltiina rosa (dedicated !?j Mr. do I.uca) ,. Gabriele KlbeUa -crrnaii gelaia .It?i?/i -l'eccla Aria: "0 it- ver' aiinl miel," f.'"in "Emani"..Vcrdl Song recital by Antoinette Bou drcau, Princess Theatre, 3-p. m. It?slcin, Rfcleln .Schumann <chne?gli ftclioi .Schumann Oaa M?del on spricht.Brahms \n i Inem Bachfi.?Irleg l"i hast midi aber la;.go warten lassen.I'oaa lite Creek Folksongs . llirel I'hansou do la Marico !.i ?a-, ?ers l'?gllso Quel ??alan!, m'est i-otnparab!? ?. h an son ??es e'uelilo?L-_ ?le l<?Us<jue3 Tout Bal! t/AUente . l'oldowskl -..rensil.i .Poldowshl !a?s Cijales .UiaJ'ri.r l* Jarrliii de.-i BamboUl . i!|i .es Abeilles .Fourrlruru Von A?e tlio F.rening Cloud .Hooman 1 ho Trjit .< ; -ir?? ?ruca.h_ aao.tr Pierrot . Kubner Song recital by Eva Gauthier, Aco- | lian Hall, .3 p. m.: i S-li Cii-inta 1'npula.iri*!.Harmonizations (in Chanson Kluuiunle (XV) Sme.lo. AJ??*n'tro e.<*org(*? Chanson Fran?aise (Limousin)... .Maurli? Havel Chanson R-ussa .Alexandra Ulvnme Chanson f'.'spagnol .Maurice Rave) Melodie Italienne (Romal-.'ei.Mauri?? liavbl Chanson lx.-ossa.lso (lluras)....Aloxaudro titorici-e Tlie SorruwTul Your (Opus 112, No. 11 s. Ivanowltch Tantyef Reflect inn (Opus 2<?, No, Hi_s. Ivan Taneysf Fountains (Opus 2?;. No. Ti.S. Ivan Ti!n.yci i I'ir: l Min.? in Amerlea. I Tho Aged Littlo Mother (Opu.? 19, No. 2). X. Moiltner Whispering.? (Opus 24, No. 71.\. Meiltncr Orectliigs (Opus 10. No. 1).N. Medtner Mignon (Opus It. No. 4).....N. Medtner I??:- liml Night i Opus 24, No. 1)_N. MeJtner i Kirst timo In America.) Six Po?sies ele i:. Verbaercu et I'. Verlaine (0| ,.. I.a I.'.mo Rlanrhn iTho Silvery Moon)-..C Catolre j If <Y! (The t r . I .<;. Catolro X'cst l'Eittse Langoureuse .O. Catoiro I'Uni.senieiit il'rayi'ri .<?? '.'atolr?? Lo t-ic-i (The Frost) .<7. Catcire i first lim?? in Airier:? ?i. I The Vtolot K>pus 18, No. .'?>.N". Medtner Li?? Wr'tien Wonls Among the i nal-? (Opus 19, No. li.N. Medtner Sil??!)?-?.- (Opus ?9. No. 2> .<;. Catoiro Life Is e'allul Day. Death I? Called Night (Opus 19, .NY?. 3) .O. "atnire . May Sons (Opus >'. No. ?i.N. Jfodtuer i l-'irKL time in America, i ' Trois CivMes ?Je la Lyrique Japonaise.. (By reQUest Ahahllo .tsar Stravinsky | Ma-iatsunii .igor Stravtii . T-srr?;,i .Igor StxavhKKy 1 ?-'- i : 1 pcrfi rman?_-e ::i Amei; n. MONDAY Piano recital by Jessie WyckolT, Aco- '' lian Hall, 3 p. m.: Sonata, Op. IOS, No. ?.0, V.. Bcctli rcn Cliga con Varia?.:. . I. tip. 91, No, 2.I;*'7 Hallado. I" minor.Chopin j El':?!?.. Op. 10, V>. !i.Chopin Op. 10, No. 12.Chopin l'"intasio .Cliopln Harmonies ?!'i Solr.Liszt \\i...? Caprioe?Noeiafalicr .Strauss-Tau ? Organ recita', by ?Samuel Baldwin City College, A p. re..: Sonna No. 2. In C major. ?.Borow kl I'rolu lo . Clcrainbaull Atr from ?Suite in D .Bach Fugue in Q major, ? la tugue.Ha? h : Man-ho F?nebre .Chopin ! Torcata lu A.Kryslntfcr ! Xani'iniol Ostrow .Rubinstein Theme anil Finals la A Hat.T?llele Concert by the Berkshire String ! Quartet, Aeolian Hall, S : 13 p. m.: Quartet, Op. 51, No. I. In C tnln.ir.Brahms Quartet In I> major, ( Koec-hel, N6J 499).M<??art ? Uu?rtct, op. 4,:.. ln.E major.D'Jiuly Concert bv de Paullst Choristers, Carnegie Hall, 8:30 p. m.: ??mille Hplrtt-im Ti.um . Bchuetky | a- A va .Maris rS'ella.. Farra-.it : b?Ara Maxis :.;?;:?. Cm / Salve Begin? .Waddington Mr. T. F. llcXlranahau, tenor. Dr. i\ DunTord, bass. Legend .v. Tchaikovsky Cherubic Hymn.Gretchaulnoff Praise ?io Lord from Heaven.Ita?:liina?ilt:ofr Alleluia .Fallier Firm Tho Day of Judgment .Archangelsk;/ All ?rt'atJiing Life .Ba?-u T! Lacerto Splrito . Verdi Lullaby . Brahma Mr. Dunford. Every Valley . H?nde'. Mr. McGranahan, ienor. The Mocking Bird. Arranged hy Father l"tn:i Master William HaJUscy, ?soprano solo. i The- De'U's Away.De Lamar-ter Kolyada .lUmsky-Korsakoff I'ai'iiT Finn, conductor. ltlptey Dorr, organist, Mi-, Mary Anderson. Pianist. WEDNESDAY Concert by the Paulist Choristers, Carnegie Hall, ? p. m. Kvrio .Terry 'IVo carols: a?Angels We Have Heard on High ..Traditional h ? i Saw Thrco Ships ......Traditional Mastur William ITo! t. Q Light Divine . Ka;ta:.-.:;v sheru in Song .Rachmaninoff Gloria.Gounod Mr. M?;-, tal a ? l?r. Dunford Masler Hull? ' Pnlan Master Joseph Walsh l'a Mater .Klieinberger Hodle Mcora Eris i.t Paradiso . Dubois 11 r. McGranhan H.^i'ia Coell .T?t: When tho Boys Como Homo . Speai? Dr. Dunford I.ulhiby of Life . Leslie Deep Hiver .?'M Negro Spiritual Tenor aria . Selected Gypi-y.Zolbtarieir Cudgel . Slonoff Kolyada .I(ln_Uy--Korsak'.>rf 'Cuello and viola recital by May Muklc and Rebecca Clarke, Aeolian Hall, 3 p. in.: Sonata in ?1 fur piatioforta and violoncr;'.:?.... .Ba VI.Ma and pianoforte: Sara! ande.Hubert. Parry Morpheus (first performance).Antliony Ti Allegro appassionato .Frank Bridge. Vi"la and violoncello: [.Ulla . (MS.) . TleN-cca Clarko Grotesque I .MAI .Bebccca Clarke Violoncello and pianoforte: Allemande (MS.) .Tail!. Chant Blegiarjue.Florent, Bclimitt Chinese folk tuno (tint performance?. Fugino e;?'Ossens Trio for piano, yl?>!a and violoncello, (?p. 114. Brahms Organ recital by Samuel Baldwin, City College, <1 p. in.: CliromaUa Prelude and Fantasie.?TnafEn Seen a Pastorale .Boss! Fantasia an I Fugue In e! minor.Bach Prelude to "T'arsifa1".Wagner Idyl!.? .Quer' Chacon ne .Bonnet Improvisation from Suite in 1).Foot? Sonata, tho 31th Psalm.RouLko THURSDAY Song recital by Herbert Withcr spoon and Florence 11 inkle- Wither? spoon, Aeolian Hall, 3 p. m.: Classical songs, airs and ducti. Duels: Mlnuctte .Florlda-Buononcini Null d'azur .Manger-BceUio? n Slumber now (Cantata "Ich bal'O genug")...Bach Droop Not, Young Forer.Hand?.! Amarllll mia b^'la .Cacclui Invocazione dl (trf??> .Floridia-Ferl Herbert Wltherspoon. Itei'ilaUve and air: "Tout mon Bonheur" (<_d;po a ? i .ne) Sa . ..'.'.i Duel y. 1 . ri neo Hinklo-Wllhcrspoou Noctun.. :i ileux ?. "Los langueurs".Mma. Gall .Minuet a de,i\- viox, "Je vours aime bien".. Unknown Arranged by W?ker?n. Songs of folk typo or origin Had a horse (Hungarian melcKiyl. Arranged by Kurbay Quand lo mor rouge UTiansMi a boire).... Arranged hy Wekerlln Sweet ha'? (Old English, ?toperl .In!,?*,)_ (Arranged by Fred K'jpl Tie fork Leg (Irish). Arranged !.. Herbert Il1.1g.n3 Herliert Withorsp? It tssl ?'i 5? ?.??;- In ! ngli .h Motl r dear st ? loi) song). Arranged b ?\ in :? 1 ' " " ?Id - r's Bri le.Rarhroanliv :" l bo Messagu .Biazeiewi? i flin Maid u il the Sun .Rlmsky-Korsakow iiill't\.Stai] "" I; .Moussorgaky Icj Magpie.Maussorgaky Floren e tttukle-Withorsp? n. Duet: "_a ,i ilirrin" ("Don Glrrvarufl").Moeart Kurl R :,.-.! . -, at >fie ! Ian ?. Concert by the Boston Symphony Orchestra, Carnegie Hall, S:15 p. m.: Symphony In G n nor. So. 2 .Moy.art II??"- M? fen uU fn m tua "Romeo and Juliet" Sjniphonj (Queen Mai. -Garden Scene Grand Fete at Capuletsl.Berlioz FRIDAY Song recital by Boris Saslavsky. Aeolian Hall, ? p. m.: Honor and Axtna.Handel sere amlche . Gaidar" ?V.- r?,i;*?'Vi "..! Ml*???l let lo It. d Lark. .i,|,j Irish . Mnuasorgskj lialla-k " l:"U . M ?u.v.orxak )? 'T,,"? . ??rcn-hanliillT ' hri!, 11 ^ s lUseil.. Ita.-I !? , ? . r < '" f? k* of Little iliasshY:."-??''"'??-?!"ff AS '?? p0'"draln il ,m< ure '.,?..,;.,, , , Frei. folk? ngf ????., U Peilte II. ,i ?? Dise, . de ., , hapctet, rauibourbi ? ?-?bn.Brahm, Feld In ,.., Iii II My Dulc?? Culi*. IV Humo CcA&erMC?: U/HIT?r?lLL /??S ATf/A/VASL. In the World of Concerts The fourth and last concert in the series of symphony concerts for chii dren will be given in Aeolian Hall Sat? urday morning, February 16, at 11 o'clock by the orchestra of the Sym? phony Society of New York, Walter Damrosch, conductor. Mr, Dairirosch will explain and illustrate the percus? sion instruments of the orchestra, in? cluding kettle drums, snare drum, cymbals, bells and tambourine. The programme consists of Rossini's Over? ture to "William Tell"; "Laideronette, Empress of the Statuettes," from Ravel's "Mother Goose" suite; Grain ger's "Shepherds Hey"; Massenet's Spanish Dance from "Le Cid" and the polka "Thunder and Lightning," hy Jo? hann Strauss. Edward Burlingame Hill's suite, "Stcvensoniana," promised at an earlier I concert, will be given by Mr. Damrojch ? on Sunday afternoon, February 17, in \ Aeolian Hall. The work will have its ' first performance upon this occasion. "Stevensor.iana" bears the sub-titte "After poems from Robert Louis Ste? venson's 'A Child's Garden of Vcr-ses.'" There are four parts-march, lullaby, "The Land of Nod"; scherzo, "Where Go the Boats'?" and "The Unseen Play? mate." Mr. Hill is a member of the department of music at Harvard and a well known composer and critic. His works "Pan and the .Star" and "The Parting of Launcelot and Guinevere" have been performed by leading orches? tras. The soloist for this concert is Gustav Langcnus, clarinet of the New York Symphony Orchestra, who will play Mozart's concerto for clarinet. v.it':i orchestra. The opening number v.ill be Tschaikowsky's Symphony Nu. -1. Tiie Philharmonic Society of New York's fourth Sunday concert in Brook j^i takes place this afternoon at the Academy of Music, with Beethoven'? Fifth Symphony as the opening num? ber. Louis Graveure Douthitt, barytone, will be the soloist. Conductor Stttn sky's programmes includes the first per? formances before a Brookhn audience of Debussy's "Ronde de Printemps'and the Dclius composition, "In a Summer Garden." The concert concludes with Tschaikowsky's fantasy, "Romeo and Juliet." Schubert's "Unfinished** Symphony and the first appearance at a Philhar? monic concert of tho American violin? ist Eddy Brown will be the features of the society's concert at Carnegie Hall on Sunday, February 17. The vio? linist will play the Mendelssohn Con? certo. At the following pair of Phil? harmonic concerts, on Thursday, Feb? ruary 21, iind Friday, February 22, the Schumann piano concerto will be played by Josef Hofmann. John McCormack's next appearance in concert in Now York will be at the Hippodrome Sunday night, February 2L Miss Maude Fay will give a song re? cital in Carnegie Hall on Sunday ?** ning, March :,. The Lass Wi?i tae lie:;,-ate Air .Ann Hie New Hubs!an n. inn. Recital by Lhe Brahms Quartet, Prin? cess Theatre, ;':'J0 p. m.: AmnrlUI. Mia Bolla... f?lutto &a& Ke Bel ?th,. ria'iTaello HoaU? Danza. l?aj...;a . j.?,.,.;,.,.<.??> Durant* Dio Knvarhto Kose. ' Wilhelm 1<?"T: Dn-i Lieder?Op. 44. Ncs. '.'. '? ? . .1?. inn? Prahm? Duette Dia s. i wesloj i ,i . . ? ? !?"? ?"'? Ali, m?mi Berger. \rt i> mi r? ' ' Beau Si.lr. , , . p^.j??-? J'ha.iu- ? hese a Se ? Temps. '. \? Deenu i'?'-'-"r I?o Berger Discret.v-r Deem? Tw}* A < lear MldnlRl i . ir. R ginald Sp'?* A l'age'? Roed Scng ..... Marold Osbom <m' ? In a China Shr.p .... i -.-? ? ? ? ?'? ? NV ' ??' -the Wisp . . ? i .,,. -. Bpr*? Violin recital by Mayo Wadier, Aeo? lian Hall, 8:15 p. m.: Oiaeiwne ' Ith r..-gau ?i>?mpaj?nieul ? Ul?i ! raus?" l'anusy . Wiei ?" : ^??.-iiia-a Napoletana Sgsinb?" llevarle .... It Straw vaL-??? Macabre *'.'.".. Uode-*?** ? '.-sil!? sjoug . Ju?i: Swedish Dance. ?),,': Chanson M?ditation .ivttcn-.-? Au, der Ueiinat ..sujet??? SATURDAY Concert by the Boston Symphony Or? chestra, ?_' p. m.: Symphony In U (B. & H No ?Si ("Surpris*"! . lia."-?-1 Serenade for Strings in ?' major. Op 4J. Overture, Sappho" toWnUtf* Violin recital by Sascha Jacobino!?. Aeolian Hall, 8:15 p. m.: i-heeonne (Ulh Century) .V;U'' ,, Kldnr* ,\ Baldn In <?< the ???-ri-n iwmanoe in i major ...Bw?vjr? ' ??????> . Ua.-.h-Kivt'.'?" ' "? ' !'r o, C? minor ... ?l!"v ' ? a? et Klgau.lo.i. rranoeux-K"?L--i,"i ? " i :'" ... : Iinpifjeslonf").oruttn? '' ? r?"?!! i I ?a ???? ("In BUaabethan Day?"'. A. Walu-r KtUt?" Humoreaaua . . T???- *'??"' l?iUudutftl?.u and Iiw,u?> rapritxi <ao.SaJal-S???? Clifford Vaughaa at lbs ilaan- ?