New-York tribune. [volume], March 23, 1919, Page 12, Image 36

About New-York tribune. [volume] (New York [N.Y.]) 1866-1924

Image provided by: Library of Congress, Washington, DC

                
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;.