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The Case of "Cyrano"
A Second Work, Like "Mona" Unjustly Relegated to the Lumber Room After One Season>?A Discussion of the Merits and Deficiencies of Mr, Damrosch's Opera By H. E. Krehbiel An argument was attemptcd in this journal last Sunday in support of a longer and better trial for American operas than they have received hereto? fore at the Metropolitan Opera House. Two operas were mentioned as works of of sufficient merit to have served as a temporary standard at least for Amer? ican composers had they been kept in thc repertory long cnough and their authors been given an opportunity to romody the defects disclosed by their performance. These operas were Pro fessor Parker's "Mona" and Mr. Walter Damrosch's "Cyrano de Bergerac." The merits and deticiencies of the formcr were discussed a week ago, and it was the writer's purpose to subject thc lat? ter to thc same treatment; but this was found to bo impracticable in the space at his disposal. However, the topic is still tlmely?indoed, was never more so, and no apology is needed for resuming the discussion. "Mona" had back of it the great interest and curi osity excited by a nation-wide competi? tion and the award of a royal prize. "Cyrano" had no adventitious help of this character, yet its advent was her aldcd as a triumph and, in spite of the criticism of kindly reviewers the au? thors were given to uriderstand that their work was ofticially looked upon as something morc than a tentative ex periment. Yet, like "Mona," it went into the lumber room at the end of the season. "Cyrano de Bergerac" was not the fruit of hurried hothouse cultivation. The purpose to write it had been formed hy Mr. Damrosch ten years before, af? ter he had witnessed a performance of an English version of M. Rostand's play by Richard Mansfield. At that time the management of the Metropol? itan Opera House was giving no thought to native composers, and very little in deed to native singers. Mr. Damrosch se cured the collaboration of Mr. William J.Henderson.and after the latter gentle inan had put the libretto in hi3 hands lie took up its composition while rest ing for a season from the labors of con ducting orchestras and choruses. Hav ng practically composed the work, he applied the admirable Horatian adage ?tnd left it alonc for nine years. Then he took it up again and gave its first act a trial at his home. Mr. Gatti neard the trial and agreed to produce he opera at the Metropolitan. After dr. Damrosch had rewritten thejjfourth et the opera was produeed on;Fe*qrT; ?ry 27, 1913. To a Tribune reporter he composer, before the production, had cxplaincd that there was more Italian and French influence in the ausic than German; that in the first et he had harked back to Rameau; hat, to some extent, he had used the A'agnerian system of typical themes, nd that the musical symbol for Cyra io's celebrated nose was in the whole one scale (although he had written it >efore Debussy was widely known), so :iat it might stand out in the music -i did the huge probosis from the < ro's face. Roxane, beinp a prccieuse, er music was at first of the florid kind, mt became scrious, and even tragic, as r love developed. There were gladsomc incidents at the rst performance, including nine cur 'in calls after the first act for com ?ser, librettist, conductor, singers and > on. After the balcony scene the ".aposer made a speech, and after the" nal eurtain he made another. He said iat aa his father had been the first j introduce German opera in this juntry, so he hoped to have helped to y the foundation-atone of a type of iera which should prove as popular German opera at thc Metropolitan >pera House. Perhaps the clation of c moment may be pleadcd in cxtcnu ' ion for Mr. Damrosch's faulty history. i a matter of fact, German opera in erman had been flghting its way >ward recognition for nearly thirty ars when Dr. Lcopold Damrosch bc n his memorablc experiment at the ctropolitan. It was given on extra ighta in the Italian seasons of Max arctzck at the Academy of Music; rgmann and Anschiitz had conducted any performances, Carlotta Patti had avelled through the country at thc ad of a company that produeed "Dic -uberflote," Parepa and Lucca had ng in German performances and the res in other cities than New Xork ?d echoed to the strains of "Martha," 'tradella," "Fidclio," "Tannhiruser," '.ohengrin" and "Der Fliegende Hol nder," "Dic Walkiire' was pcrformed the Academy of Music at a Wagner stival in 1877. Otto H. Kahn told the newspaper r? ortera after the performance that he 'lyught the opera would stay in the ?pertory of the Metropolitan Opera iou8c, and that thereafter the Metro ?litan company would produce any merican opera -which had anything ' ke the merits of "Cyrano." Mr. Hen :r?on's mind preserved ita habitually '?rmal tempcrature. In his review the season, published in "The jn," he said he thought it toler ?ly eertain that no one was better vare of the mistakes made in the -Hiposition of the opera than Mr. Dam ?/*ch. In ita original state it was too >ng and numerous cuts were found to a neceesary ln thc rehearsals. While t itae served to reduco the performance ' i a reasonable time, they did unmis ? ikable darnage to thc structure. If the pcra should be retatnedv in the repor ory, he thought it likely that the !iird act, which had been robbed of its '.?ntinuity and dramatic purpose, would ? r<rwriucr;. To what extent Mr. Uenderaon was to t?iao? lot the defects o? tbe opera wc shall not undertake to appraisc. He spoke of tho difflculties of declama tion, and in thia respect we think he assumed too large a share of blame, for in his lyrical paraphrase of Ros tand'a play there was an admirable measure of that combination of quali tios which is easentiol to tho emciency of a lyrical drama in any language. His book disclos?5d a knowledge of thc art of song, of the demands of the theatre and of the needs of a composer. As a critic of large experience he might, perhaps, have guarded against the dif fuseness which he himself condemned so frankly, but he could not know what method the composer would follow in the setting. As for Mr. Damrosch, he showed a common failing of composers, even composers of large experience?a failure to realize while writing how long his work would be in the perform? ance. The operation of reducing a score once it is done is a painful one to a composer. History tells us of the pangs which the revision of "Fidelio" cost Beethoven, and there is a story that Rossini quit attending performances of his "Guillaumo Tell," after the director of the opera had made some very es sential excisions in the score. A friend met him walking the streets one night and asked in surprise: "Why aren't you at the opera? They are giving your 'TeH'." "Which act?" laconically inquired the composer and walked on. It was less a marvel that Rostand's "Cyrano de Bergerac" should have been turned into an opera than that it should have waited so long for the transformation which every reader or spectator of the play must have seen was inevitable from tho beginning. In Europe tho play was protected by copy right, and, no doubt, M. Rostand was himself the obstacle in the way of the omnivorous French librettists, who have no bowels of compassion for the literary masterpieces of any people. In this instance M. Rostand was power less, and though Mr. Damrosch had an nounced that he intended to divide his royarties with him, it is not likely that the French dramatist contemplated with equanimity the fact that his Cyrano was to put on an antic operatic dispo sition, no matter how ingeniously the transmogrification might be accom plished. Least of all was he likely to be pleased to learn that Cyrano was to utter his speeches, not only with the alloy of music added to them, but sophisticated by a tongue so foreign to their spirit as English. If hc had been displeased with English perform? ances of his work, he, no doubt, felt doubly outraged at the fact that his hero's famous nose was to be set to music. And yet it was inevitable. As a matter of fact, the work of Messrs. Henderson and Damrosch was not the first operatic vcrsion of the drama. In September,1899, it had a brief career as an opera, which had been fab ricated to give vent to the ambition of Francis Wilson 80 get away from acrobatic musical farce and demon strate that he conld use his mind as well as his legs on thc thcatrical stage. Unhappily the demonstration involved also tha use of Mr. Wilson's voice, from the idiosyncrasics of which 1 the genial and scholarly comedian could not divorce himself; and so this first "Cyrano" opera failed miserably. Mr. Wilson made the scenario for his opera himself, Mr. Stuart Reed put it into dramtic shape (that is, he wrote the dialoguo and indicated where the music should enter)> Harry B. Smith concoted the songs and Vicor Herbert eompoBed the music. Everybody was quick to recognize j that it was a correct instinct which | saw the possibility of an opera in \ "Cyrano," but everybody who saw and | heard tho opera was cqually quick to ! see that it was a mistake to choose j any other medium than frank and ; broad burlesque for Mr. Wilson, even if he wanted it so. Much' of the lyrical cclcbration of Ia panachc seemed pro vided to order by M. Rostand himself who had conceived his play on lines which cried out for a musical setting, as loudly aa a work so profoundly po etical and romantic could. It 'b suf ficient to call the first act to mind with its merry gathering, its play scene, thc ballad of the duello; tht second with its hungry poets, the rhyming pastry cook and the inditing of the letter to Roxane; the third, with 1 its proxy serenade (for which a pro ' totype is found in "Don Giovanni") the song of the cadcts of Gascony; tht fourth, with. its camp scene before tht battle and the battle itself; finally Cyrano's unconacious confeasion of hi? passion, his flght with thc phantoms of the things in life of which he hac been the implacable enemy. These things were all conceived, born anc bred for opera! And then the prettj invitation to seventeenth ccntur\ music?the musctte, which is the prel ude to Montfleury's effort to rerite s paatoral, the pavanc which was to bt played out of tune in caac De Guicht ahould approach the house of Roxant to spoil the lovemaking- -what deiiRht ful opportunities these for dainty anc ingenious musicianship! All this aeems to be of the open operatic, and every person in the plaj also etruck out in aharp lines for mu aical charactcrisation and a transport ing interehange of lightaome humor semi-gravlty and deep passion. Un fortunatcly, thero was too much t? l?Od itself to the longuid legs ol music, and when the authors or tht opera undertook thc transformatior they were not bravc enough to makt jtbe htioic exc^ions which wero necea I aarjr it*, bring the play within aa ?per -1-$ atic framework. Much of the literary sparkle would have to go by the board, course. That Mr. Henderson knew and he labored valiantly and with much success to supply its place with lines I which would carry music, though they j could not reflect the romantic life : which was the breath in Cyrano's nos trils. But music came with its clog in spite of him, and in spite, even, of Mr. Damrosch, who had a multitude of pretty conceits, which he thought nec? essary to preserve the joyous vivacity which the hero injects intermittently \ into the play, even though consumed with mournful contcmplation of the ? role which he i3 forced to enact in the eventful history of which he is a part. It is assumed that nobody is suf ficiently interested in reading a dis cussion of the opera who is not famil iar with Rostand's play. Mr. Hender? son did not depart materially from the French drama except (at the sugges? tion of the comnoser), to bring the two closing scenes of thc last act closer together in point of time and have the hero die from a wound re? ceived at the battle of Arras the day : / after the incident. There was no seri? ous objection to be urged against this device, except that it lessened the psy chological interest in Cyrano's char? acter, and also measurably that of , Roxane, by robbing tho unvolitional ' * confession of the hero's love and pious ' fraud of much of it.s illusion and r bringing him nearcr the commonplaces E of romancc than he ever was in the * magnificent conception of the poet. Il , : was a more serious defect that, not i knowing what the composer's method ? would be, Mr. Henderson gave Mr. Damrosch more material to clothe in music than could bc compassed within reasonablc time by that method. A brave effort was made to obviate this difficulty by liberal excisions in the course of the rehearsals; but the ob vious remedy would have. been to cut out the scenes which, however bril? liant and illustrative of Rostand's genius, were not essential to the pres cntation of the romantic figure which was uppermost in Mr. Damrosch's mind. The music of Mr. Damrosch might be approached from several points of view and always invito more praise than condemnation. As to its style, it was elcctic, so clectic, indeed, that it can scarcely be credited with marked consistency in manner. The opening scene was splcndidly effectivc, full of grace and spirit, and nothing could have been conceived more appropriate in any respect than the measures which began the pastoral play inter rupteJ by Cyrano. But the interest drooped where it was expected to mount in thc duei. Here synchronism of real sword play and %vord, a rhyth mically piquant melody and a nico ad justment of music and action would have had beautiful effectiveness. But they were lacking. It was in thc love music of the third act and in the dra matic finalc of the fourth that Mr. Damrosch's skill showed itself nt its , I best. Here there were echoes of the , ! melodic, hnrmonic and instrumcntal 1 j idioms of composers who have drawn . i luminous lines across thc pages of [ ' operatic history, but enough freshncss r of inspiration in every department to compel not only respect, but admira tion. To sum up: A drama which has many cxternal features that lend them 3elves grnccfully to an operatic set? ting, which might even be said to de? mand an operatic investituro, but which frequently in all that makes it great and glorious in its original form resents deapoiliation of any kind, had been turned into an attractive musical drama. With its Gallic esprit inaepa rable from the original text, there evap oruted so much of its characteristic charm that few of M. Rostand's ad mircrs could approvc of tho transfor mation; but saving the dofects which were to bc found chiefly in the musi? cal scttinga of portions of its comedy, it v/as yet a notable nrtistic achlevo inent nnd one which reflectod credit upon its outhora and tho inatitutiou which produco* it. It offored nothing, minting even remotcly to the solution >f the problem of English or .Ameri an opera; yet it was calculated, like 'Mona," to encourage native compos ;rs to work, and this encouragement vould, wo think, have been greater lad the opera been revived after a ?areful revision, thc need of which \*as recognized by its authors, instead )f being thrown aside at the end of he season, despite the rnultitude of lattcring words which were. heaped lpon it after the first performance. Mile. Gail, Who Will Sing For Children Next Friday, Is Self ? Made A r t i s t Most of the singerd who have at ained great fame?or their press agents 'or them -like to tell about thc enor nous sums of money that have been spent upon their education or training 'or thc operatic or concert stage. >>'ot 30 Mile. Gail, who is to make her debut ' ' '" i Itvonne Gail, Soprano in concert at Aeolian Hall next Friday afternoon at a recital to be given in aid of thc Speedwell Society for Con valescent Children. Mile. Gail boasts that she is self-made, meaning that she rose to a high rank among opera sing? ers cntircly by her own efforts. Left Bii orphan at sixtecn, Mile. Gail was thrown cntircly upon her own rc sourccs. She know the piano thorough? ly and she began to give lessons on that instrument. By this means she abtained enough money to live. In her itpare time she lcarned a role and when she knew it she presented herself at the Paris Conscrvatoirc Out of 600 appllcants she was one of fifty to be received as a pupil. At thc same time 3ho was given what is equivalent to a scholarship, which paid her 100 francs ($20) a month, just enough to pay her ictual living expenses. She remaincd ?t the Conservatoire for two years and it the end t f that time was graduated ind received the Premier Prix, which entitled her to three debuts. At her t*cry lirst, however, .she won the. ap- ' proval of the public and the eritics and was given an engugomont at the Opera. rhat waa in 1908 and she has advanced steudili' io favor and fame ever since. Operas of the Week At the Metropolitan "Faust" will be given at a special matinee next Wednesday with Mme. j Farrar, Miss Delaunois and Messrs. j Martinelli, Rothier and Werrenrath. Other operas of the week will be as j follows: Monday, "Oberon," with the ' usual cast; Wednesday, "Rigoletto," \ with Mme. Barrientos and Messrs. j Hackett, De Luca and De Segurola; ? Thursday, "Marta,'1 with Mmes. Bar- j riontos and Homer and Messrs. Caruso and Didur; Friday, "Carmen," with Mmes. Farrar and Sundelius and Messrs. i Martinelli, Whitehill and Rothier. On j Saturday afternoon "La Boheme" will be sung by Mmes. Muzio and Romaine ' and Messrs. Lazaro, Scotti, De Segurola i and Chalmers. "Boris GodunofT" will be given at | popular prices on Saturday cvening I with Mmes. Matzenauer and Delaunois and Messrs. Didur, Althouse and Mar dones. To-night's "Opera Concert" Mischa Elman, violinist, will play at j to-night's "Opera Concert'' Wieniaw- ! ski's concerto in I) minor and scveral ? pieces by Chopin-Wilhelmj and Sar- ! asate. Miss Helcna Marsh will sing] "Voce di donna" from "La Gioconda" I and several songs by Agusta Ohrstrom, Renard, Bcmbcrg, Galloway and Koem menich. Mr. Charles Hackett will sing "0 Paradiso" from "L'Africaine" and several selected songs. The or? ehestra, under the direction of Mr. Richard Hageman, will play Gold mark's "Sakuntala" Overture and Cha brier's "Marche Joyeuse," Dvorak Stock's "Humoresque" and Kreislcr Stock's "Valse Viennoise." McCormack's Last Concert John McCormack will give his final concert this season on Easter night. He will then start on an extensive West? ern tour and will not be heard again in New York until next November. MUSICAL INSTRUCTION NEW YORK AMERICAN CONSERATORY OF MUSIC 163 tVewl 72(1 Sl. EXPERT INSTRUCTORS ln nil BRANCHES OF MUSIC. Terms, $1^.50 per ctuarter upward. SEND FOR CATALOGUE. N' Pk Alfla V TF;ACHEn 0F val rfcflWfci r;?AEN0. 8TUDI0: 121 CARNEGIE HALL, N. Y. BROOKLYN 8TUDI0: 99 EUCLID AVENUE. &. MftRTINO ??T TEACHER OF ROSA PONCBUE, OP THE METROPOLITAN OPERA COMPANY. studlo: 613 West End Ave., near 90th St. FLORENCE ABI P Solo Planlit. Reoltah. E* UALC. Ensembli. Clanoi ??*??"?" A S??clalt-y. PFPII. OF LBSCHBTIZKIT and AFTHOR IZED TKACHER OF HIS MKT1IOD. Sluillo 140 WEST 68th 6T. Toi. Coluniliua 3B9?. h it n a ii A i a-% THE amer'ican XELLI8T CONCERTS U4STRUCTI0N ISI W. 147th St.. N. Y. 'Tel. Audubon 1959. FHinTROEMEl. lS|a PFPII, OF I.EOPOIO ACER. 870 RIV KH8IDE DRIVE. Apt. 5A. iir. I60th AMUSEMENTS Amherst, Brown, Columbia Glee and Mandolin Club Concert IIOTKI. PI.AZA __ HATFRDAV, MARCH 39 3TCRE1 8 18.30 DANCINO 2JNt J5?2JS* *****. Mary Garden's iiFestival For France". at The Metropolitan Mary Garden, Arthur Rubinstein, the Polish pianist; Georges Baklanoff, barytone; Alfred Maguenat, barytone, and the Pavley-Oukrainsky Ballet, with an orchestra comprising members of well known orchestral sodieties of New York, conducted by Pierre Monteux and Marcel Charlier, will be the attrac tions at "Mary Garden's Festival for France" at the Metropolitan Opera House next Tuesday evening. The proceeds will be turned over to the Secours Franco-Americain do Paris, for the benefit of devastated France, the ruined regions of the Somme and the Argonne. Miss Garden, with her own com? pany, will present one act of Char pentier's "Louise" and one act of Mas senet's "Cleopatre." Arthur Rubin? stein will play Chopin's E minor Con certo. The orchestral numbers and the numbers by Messrs Baklanoff and Maguenat are not yet announced. The ballet foatures will bc Bizet's "Danse Tzigane" and a now version of De bussy's "L'Apres-midi d'un Faume." The story of the rcvised Debussy uallot is a prolude to the version al? ready prcscnted in Europe and in this country by Xijiitsky. This will be its first production. The costuming is not in the archaic Grcek, but in the Pom peian style. A faun and bacchantes are sunning themselves on a bank in tho hcart of a wild forcst. Two lovers, a youth and a nymph, who have lost their way, are seen by them. The bacchantes entice the youth away and tie him to a tree with vines. Thc faun attempts to fascinate the nymph. The youth struggles to escape, but is con demned to see the nymph disappear into the depths of the i'orest with the faun. When he is freed, it is too late to rescuc her, and the bacchantes leave him alone and in despair. MUSICAL INSTRUCTION MARIO SALVINI VOICE 206 West 71st Street, New York bhc?% STEiNBERI BAR1TONTD?TEACHER OF SINGING. U'6 WEST 00th ST. Tei. Rtver. 0023. eugenKLEEi Conductor of LIEDERKRANZ, N. T. 'Instructor in Vocal Art. ?oachniff a apeclalty. '?Tho Northern," 151 WEST 181st BT. Tcl. St. Nlch. 9914. IViOHENZO TENOR. ,? iwnnaaaa nra a -u m t'ONCERTS. , BflVIlkllAailJ INSTRUCTION. Studlo, 50 \V. 07th St. Tei. 1405 Columbus. ARTHUR PH1LIPS Barltone Teacher of Singing Rill CARNEGIE HALL. T?l. Clrcle 135?. DI PIETRO or I'lano. Studio, 403 Curncgie Uall. Wed.ft Sat., P'. M. otMIHEU'wC1 BEST AND MOST 8IMPLIFIED METHOt>r ' "VAN DYKE." 939 EIGHTH AVE.. NEAR MTH. THEO. VAN 70RX~~ TENOR VOCAI-, STUDIO. 22 WRST 39TH CT. ^DOOUTTLES 686 W. 112th ST. Tei. Cathedr?l 8S91. l/lilftllalU I'vHo s?nrana Fumi KINGMAN v^ri:: AEICK 8IEVER, AtCOMl'ANIST. 713 MADISON AVE. Tal, 8S6? Plaaa. K:n:,\PERFIELD^^r?^ FREE TRIAL HV AI'FOINTMENT . dtlraaa Sl Jamea Hotel. 100 vv. 15th 8t. ?E BULGIN & CHASE #8tio*~ 849 Central Park Wiut (3Mh) TEST REC0RD8 MADE, Phw? Rlvenlds5160. Calendar for the Current Week SUNDAY?Aeolian Hall, 3 p. m., concert of the New York Orchestral *?. ciety; Carnegie Hall, 3 p. m., pianoforte recital by Josef Hof&J^ Metropolitan Opera House, 8:30 p. m., opera concert; Great Hall of fk City College, 4 p. m., free organ recital by Samuel A. Baldwin; Pyu ': .Theatre, 8:30 p. m., violin recital by Rudolph Bowers. vf:v MONDAY?Aeolian Hall, 3 p. m., concert by Greta Torpadie, soprano I Samuel Lifschey, viola; 8:15 p. xn., concert of chamber music bv o. Berkshiro Quartet; Metropolitan Opera House, 8 p. m., English on "Oberon"; Park Theatre, 8 p. m. (and all the week), Gilbert and S^ livan's operettas. TUESDAY?Aeolian Hall, 8 p. m., song recital by Caroline Curtiss- r.ijt p. m., pianoforte recital by Guiomar Novacs; Carnegie Hall, 8:15n concert by the Russian Symphony Orehestra; Great Hall of Co Union, 8:15 p. m., concert of Danish, Dutch and Flemish folkson Waldorf-Astoria, song recital by Hulda Lashanska for the benefit ot ??!' New York League of Women Workers; Metropolitan Opera House \f' * Garden Festival for the benefit of French war charities. WEDNESDAY?Aeolian Hall, 3 p. m., recital of sonatas for pianoforte violin by Louis Wins and Edouard Gendon; Carnegie Hall 8 meeting of the Humanitarian Cult; Metropolitan Opera House 2 n **' special performance of French opera, "Faust"; 8 p. m., Italian" o "Rigoletto"; Waldorf-Astoria, 8:15 p. m., first New York song recitalT' Michael A. Mangos, tcnor. y THURSDAY?Aeolian Hall, 3 p. m? song recital by Mildred Bryars* 8-l<; p. m., song recital by Barbara Maurel; Carnegie Hall, 8:30 p. tt' cert by the Philharmonic Society; Metropolitan Opera Houie' y *' COn* German opera in Italian, "Marta." n*'' FRIDAY?Carnegie Hall, 2:30 p. m., concert of the Philharmonic Societv Aeolian Hall, 3 p. m., song recital by Yvonne Call; 8:15 p. m J- ?' forte recital by Frances Nash; Metropolitan Opera House, 8 n ?" French opera, "Carmen"; Brooklyn Academy of Music 8-1*; t! m ^ recital by Marcella Craft. ' ' '' mS SATURDAY?Aeolian Hall, 3 p. m., pianoforte recital by Aurore La C 8:15 p. m., concert for the benefit of the Blind Men's Improvem ? Fund; Metropolitan Opera House, 2 p. m., Italian opera, "La Bohem " 8 p. m., Russian opera in Italian, "Boris Godounoff." ' Concerning the Symphony Society's Recent Season With the completion of the Sym? phony Society's present season, Waltcr Damrosch finished his thirty-fourth year as conductor of the same organi? zation that he began to direct as a young man of twenty-three. The past season of the Symphony So ciety has been replcte with interest, both in regard to assisting artists and novelties presented. A long list of' pianists included Hofmann, Cortot,! Levitzki, Bauer, Gabrilowitsch, Rach- ? maninoff, Ornstein, Winifred Christie ! and Arthur Rubinstein; the violinists ' were, Heifetz, Seidel, Vidas, Jacobsen, j Zimbalist and the orchestra's concert master, Tinlot; vocalists were Garri-! ! son, Lashanska. Alcock and de Gogorza, | ? while other soloists were Willem Willeke, Rene Pollain and Mme. Bress , ler-Bailly. The new works, or works seldom ': heard. included Casella's "War Pict? ures," "The Anjrel of Death" by G. Wr. j ? Chadwick (plaed on Roosevelt Memo-1 i rial Day), Lili Boulanger's cantata | "F&ust and Helena," Walter Damrosch's j ! "Peace Hymn of the Republic," Lekeu's \ ; fantasy on two Angevin airs, "La Vil- j j lanello du Diable" by Loeffler, Messa- j ger's entr' acte and passepied from j i "La Basoche," the interlude from "Au j i Jardin de Marguerite" by Roger-Du- j j casse, Sabata's symphonic suite, Vidal's '' ' "Dansos Tanagreenes," Geral's con- \ certo for violoncello. Seven works by Beethoven indicated that the classic master still held,sway in popularity, his Symphonies No. 3, 5, 7 and 9 being MUSICAL INSTRUCTION TORPADIE MME. H. VOCAE ART. 834 < ARNJEGIK HaIT. LOUIS ASCHENFELDER Teaching of Singing ?Supplernentary courses In Gight-^inelntr ?*SPBi .,ffl.TOT,a>f*.1,.lt S(jholarships. THE ART MUSIC STUDIO 1450 Lcxlncton Av., near 95th St. ilio most wcnderfuL rapld svg. itom for teaclilMK all mualoal Jn fotniment*. Violin. lim,,, Cornet '''rllo.MaJHlolin.cto. MODERATE RATES. TEL. LENOX 8036. HUGO COMPOSER, PI.iNIST, 12B k\st -mh bt Z -T,NSTRLCrnON j STUDIOS p/mSs,TA-VTi:s'0UON DIRECTORS VOCAL. PIANO. 0RGAN AND COWtMiTtny 853 CARNEGIE HALL. N. Y.""pho^-ggf'^ ? Chollet. Z^~Qrint^. studiof^Vr^s?^^^^^ FREDERIC WARREN &, 810 Carnesrio Hall. N. Y. Tef. Clrcla 321. JOSEF LERAD WaDi?*' AecompiuiUt. Instmction. 154 WEST 72nd ST. TH. Coiumbus 1S1L DR.CARLE.DUFFTiE Vocal Inttructlon. 810 Carn?glo Hall. N. V. M??. L Thui*. Home. 142 Claremont Av?.. alt. Varnoa. ^"* *** *-? Hall, 109 E. 14 8t. ^ggg^H ARMON Y tabui^tok ^CpMPLEtE SCALE AND CHORFT'foTElYir' WRtTE 0 WARREN AMERIGE' "THE OAKS," FREMONT. NEW HAMPSHIRE. joseph PIZZARELLO Teaihrr of Singing. Studl<> ( Hrnoglo Hall. LCCIEN DE VANNOZ iWna IN8TRCCT1QN. 2t> We,t ei.t""^1* Ull.l IA -v-*^? -m-m* ??^p|.ano Ooncrrta U0? _W. ?J???_Bt^ Tei. Kt. Ntcholaa 9?64. siEti- ngnqovripr hunoarun vioumbt"" MUNU UltUOiJIVUrr laatruviion. is* Carueal* Hall !!S*.* B.CKFdRn **&*&* of Mnndjilln. I MR8, DiUnrunu jtiuii.u- oud ttuiijo t'onrorta, Kpi'IIuIn. 4110 WEST lldtlt ST. '' xxmtxn MARTIN ?& SJ^ff'fc' performed, besides other corapositions Mozart is second on tlie list in frc' quency, being reprcsentcd by Bix works; Brahms, Saint-Saens, Wagne and Tschaikowsky have five each; four works of Damrosch and Handel were given, and the other composers whose works were played include Bach, Ber lioz, Borodine, Borowski, Bruch, Chopin Cutler, Debussy, Dvorak, Faure, Franck de Greef, d'Indy, Kelley, Lalo, Lint Lorenziti, Massenet, Mendelssohn, Mon quet, Rachmaninoff, Kavel, Raff, Rim sky-Korsakoff, Schubert, Schumann, J. Strauss and Weber. The Symphony Society announces the usual number of subscription concerN for next season; eicht Thursday after noon, five Saturday cvenitijr and si: Saturday afternoon concerts in Car? negie Hall; four Saturday morning con? certs for children and sixteen Sunday afternoon concerts in Aeolian Hall. x 1 MUSICAL INSTRITTIO.V "InfalHble Metbod of Memorizinf" ?,,?. !? ANTOINETTE PIAN0 lif A El 2Tk HARMOffl ""devKSpI'o0"!! Anu ~rsf The public is Invited to attrnd the studio toinnelte Waid ?n I-Yida.is at 3 u'cIocL Talkc by Miss Ward on Concentration?Memory Training Tone Production--Technical Frwdoni Interpretation?Sight Rcading Demonstrations VJ^V,^;, .HKI ? v >'< lsmaiv. cos. co'.umbu, Van Dyck S?udios, N. Y. gJJ, Institute of Musical Art of the City of New York Frank Damrosch, Director, 120 (laremort A? Exammations for admission now ia propeii INTERNATIONAL MUSIC SCHOOl, C. NICOSIA, Director WAXO, VIOI.IN AM) VOCAf, IESS0.N5. OI'KKA COACHINO. TDE80AY8, THIKSDAV.s. J KIDATS. JOHN BLAND TENCR MASTER 61 . CALVARY CHOI" VOICE PRODUCTION. fcludio: 20 E. 23rd St. ;.; Gruwqr flfc AKTHL SP" WOODRUFF VOICE PLAC1NG. BREATHING. Preparatlon for Cholr, Concert ?nd 0rst?rt?. STUDIO. 810 CARNEGIE HALL. NEW YORK. lltLU.t.dlltA" \<uag iu'oprtu" Vocal Instructlon?Bepertory?Operatle Art"* Home Studio: 515 W. 111TU ST* ?? ?? CKARLOTTE ELLfOTT sopra?o TEACHER OF SINGING. CHILDREN'S ClASjtt 8tudlo: 218 \Ve$t 59th St. Tel. Circi* ?* mU HARRY J. "CLARK Banjo. Hawallan UulUr. Ukulele. Mar.dolin Gtft* b'.udlo. i:o Madison A?e. Thcne .Murray HC1 Ia* 1 RAfiTIMF PJ?IM* PlaJ'1-iB TaUfht 10 W" corm* baaa. hiues atid jaM. _,l | BUTLER SCHOOL. 1431 Braadwa>. BryiB?>?* CUSTAV Dirr^irD PIANI8T *? L. DUCKllK TEACXCK 8tudto: Stelmvaj Hall, 109 East H:h BL. N- l a. GIUFFRIDA (^^^ JOACHIM SVSi'KAI. 324 K. HLb Sfc, S. ?? MUSIC CONlFoSED 15 PractlcAl Harmonv Lesaona by MaiL . Dr. A. WOOLEB. 32J W. itica St.. BrfTAU>>* ci^acE"andERSON*ST8Sf 104 WEST 3**tn ST. ToL Clrcla M-* RUSSELL STUD10Sc.rS^ EII?e?CBCr||*tJ ?'ln'"'''*. AcnMnnnRUt. <** c. rnfctmniiia,.u.U(njnn, us HiwrtaftB* MICHAEL. POSNER X'CTrSS** Studio: S81i I'llTH .VV^H_^l3l?? BROOKLYN Utifclt 1 > i' Schwl ?! ??*.. *? ?*f|j* Mauduliiil. Vkuleltf ill???ii?u^juiira;.