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NEW YORK TRIBUNE. SUNDAY. JANUARY ?. 1920 AMONG THOSE PRESENT IN THE MUSICAL EVENTS OF THE WEEK ?P*?'^(Www??^>ja?wHBitw^tawwi!SW?aii>?i'a?M?^ 10/2A/ME WMAN PkPEUStZ . Two Recent Books On Musical Topics By H. E. Krehbiel A collection of essays on the subject of modern French music, written in the course of the last decade by G. Jean Aubry, has been published by Kigan Paul, Trench, Trubner ? Co., London, in an English translation made by Edwin Evans. Mr. Evans prefaces the book with an essay of bis own, extrava? gantly laudatory of his author and somewhat expansive in its exposition of his own views on the subject which M. Jean-Aubry handles with greater tact as well as greater moderation. More conservative than either the French essayist or his translator is M. Gabriel Faur?, who wrote the origi? nal foreword for the book. M. Faur? is one of the French composers in whose works M. Jean-Aubry has dis? cerned a marvelous renascence of the spirit of French music, which in his opinion has been "cribb'd, cabin'd and confined" for more than a century, first by Italian, then by German influences. M. Faur? frankly confesses that with regard to the musie which is of to-day his friend "puts forth startling opin? ions and ingenious theories amounting almost to dogmas," which he cannot accept without discussion. Against the general tendency of the book and one of these theories M. Faur? launches an energetic objection a l'outrance. He does not want Frenchmen to forget what French music owes to contact with the German classics, and he can? not admit the validity of what he calls M. Jean-Aubry's "leading theme," which consists "in regarding as really French solely that music which is linked to the tradition of Rameau and the clave ?einists of the seventeenth and eigh? teenth centuries." BL Jean-Aubry's Essays We have read the author's thesis on this point with great care and with a highly appreciative, even sympathetic, admiration for the clavecin music by Couperin, Daquin, Dandrieu, Ra? meau and the other composers who contributed to the glory of French art in what may be comprehensively char? acterized as the period of Louis XIV, but we bar? failed utterly, miserably, perhaps, to trace the influence of those elavecinists upon the school of modern music at the head of which the author places Debussy, and in which as refulgent lights he associates with that unique genius (to give him a proud title) such men as Duparc, Albert Roussil, D?odat de S?verac and Erik Satie, as well as composers of wider repute, like Chabrier, d'Indy, Chausson, Florent ?Schmitt and Ravel. We must plead ignorance of the music of some of the men in the first class, but when we turn to M. Jean-Aubry's pages for enlightenment we find little else than eompages of pretty words, out of whleh emerges the generaliza? tion that they are French because they are not the slaves of large forms, because their music bas elegance, dis? tinction, elarityi a nice sense of pro? portion, refinement, and what is de? scribed as simplicity. M. Faur? ex? presses the fear that the view which places the Impressionism which his friend traces to Couperin, Rameau and their colleagues and immediate suc? cessors in antagonism and above "unity of scholastic composition" (wbieh la M. Jean-Aubry's phrase) is extremely narrow. He does not under? stand how scholastic discipline can re? strain expression and asks, very perti? nently, we think, "Do not the sym? phonic works of Saint-SaSns, Franek, d'Indy or Dokas, which are conceived in ? form of German origin, admit the essentially French qualities of taste, clearness and sense of proportion?" Going to literature for an analogy, M. Faur? also sayst "There is no link, I Imagine, connecting Victor Hugo with Racine. Like all the romantics, be felt the Influence of Goethe, Schiller and Byron, Jost as Berilos felt the influ? ence of Weber. Is he, therefore, not a French poet?" * Frosch Propaganda The book is obviously a bit of propa gtndl? called out by the war, al? though H? Mthor takes pains to direct ?UtartlsB to the fact that ?many of his H utterances, as well as utterances by De? bussy in his fugitive ventures into musical journalism with which his are in harmony, were published before the outbreak ?>f the war. The movement which he champions he assumes was a spontaneous reversion to a style and spirit in music which had been crashed by the influence of such men as Lully, Rossini, Meyerbeer and Wagner. The fact is that the opposition to Wagner ism, which was as revolutionary in France as it was In Germany, Italy and Great Britain, was begun in France by the feelings engendered by the Franco Prussian War. That feeling drove Saint-Sa?ns into the ranks of the chauvinists and led the French people to do tardy justice to the one unique genius which their country had pro? duced in the first half of the nineteenth century?Berlioz. The Berlioz cult was as obviously a product of the war of 1870 as the cult which M. Jean-Aubry is seeking to propagate is the fruit of the war which is yet unfinished. To recognize that is not to be disloyal to the splendid spirit which placed France foremost among the victors over Ger? many. We have several times spoken of the negligible results of the war in the field of composition and the question? able value of its results upon the culti? vation of the art in the United States. What M. Faur? has to say on this point is bo pertinent, sound and well expressed that we prefer to reprint it rather"Ihan to give space to a discus? sion of Jean-Aubry's views. "During recent months the question has often been asked: What is oui arl to become after the war? Unless 1 am mistaken the most important intel? lectual, movement following upon th? war of 1870 was realism, both in lit erature and in the plastic arts. Af? terward, and perhaps as a kind of re action, there arose a literary ant artistic movement which seems to hav? its principal source in Wagner's 'Parsi fal' considered in its philosophical dramatic and musical aspect. Hence the 'Rose-Croix' occultism, pre-Raphael ism, etc., all capable of beinj brought back to two terms?asceticisn and immobility. Again, later, in th? safety and the continuity of a prosper ous peace which, it was believed, woul? never be broken, many painters, burn ing with the fever of novelty, Invented in succession to impressionism, inten tionism, cubism, etc., while som musicians, less daring, attempted t suppress sentiment in their works an substitute sensation, forgetting tha sensation is, on the whole, the prelimi nary condition of sentiment. "Will the terrific storm throng which we are passing bring us back t ourselves by restoring our eommo sense?that is to say, the taste fo clear thought, formal purity and sc briety, the disdain for big effects?1 one word, all the qualities that can cor tribute to make French art in its er tirety recover its admirable charactc and, whether profound or subtle, r< main for all time essentially French I more than believe it; I am ?are of it The Results of War The reference to "big effects" turr us to a consideration of what M. Jeai Aubry has to say on the subject ? Richard* Strauss in his opening chapt? on French music anu "-erman musi He believes that France holds the mi sical trump card to-day because sin? the death of Wagner Germany on echoes him when she is not imitatir Brahms or Berlioz. Strauss, despite h technical skill, has only the semblan? of genius. He is the personification i Germany, which is politically, moral and artistically decadent?"the cor poser of false power, resting sole upon the strength of his orchestra ar upon violent sensation. He represen in reality the best that Germany of t day can give us. One can measure e actly in his works the disdain of a discrimination in the intellectual fa tors, the disproportionate multiplie tion of orchestral units, the streng! of material organization, a self-cot placency carried to the most na?ve v riety (as in tho 'Sinfon?a domestic, and tho a__urance of bad taste." V recall what was remarked in this jou nal some ten years ago in criticism "Electra": "Marvel as we may at tl music of this lyric drama in its newe phase there can be no other conclusi? than that its brilliancy is the stron est proof of its decadence. The age firent<>st technical skill?virtuosity t is called?-is the age of greatest d cay In really creative energy." We not need to decry the ability of Strau while recognizing and even denounci: in him tha eras?, arrogant, even fci ci. ._, spirit of modern Germar .Veither t?o wo laud tlmt spirit when ? cling tp ont love and reverence for t German masters of an earlier age. Th gsv? voie? to an idealism which w crushed to earth when th? process A building up a great military power was begun. The poets who sang of liberty and helped to redeem their country from Napoleonic despotism were the first victims of arrogant German autocracy; the next were the poets who sang of liberty half a century later. Since then there have been no hymners of German freedom. "Freiheit" is a word that was con? spicuous by its absence from the poetry called out by the war. In the first vol? ume of war verse we found it but two or three times, and then it had a dif? ferent meaning than it had in the mouths of Arndt and Freiligrath. Musie flourished because it had no political voice until the death of Brahms. Since | then the spirit of a people deluded by promises of material and martial glory has been bodied forth in a Richard Strauss and his imitator in externals, Gustav Mahler, of whom a champion, William Ritter, is quoted by M. Jean Aubry as saying, "The orchestra of Wagner, of Mahler, of Strauss, is no longer the agreeable and empirical as? sociation of harmonious instruments mployed by Mozart and Haydn. It is an irmy in battle array, equipped with ull artillery. Mozart s orchestra might I have been composed of the angelic choir of Coslmo Roselli and of Gauden zio Ferrari. Now we have arrived at lyddite and dum-dum bullets." But it is not alone the German composers who have put Big Berthas in their orches? tras. We have heard their detonations also in the orchestras of French, Ital? ian, British and even American com? posers, who, having no worthy thoughts to express, have sacrificed thought to expression. Mr. Kobb?'a "Opera Book" When the lat? Gustave Kobb?, for many years a writer on musical top? ics for the New York newspapers, was killed, by an airplane which struck his sailboat a couple of years ago, he was engaged in the preparation of a volume which has now appeared from the press of G. P. Putnam's Sons under the title "The Complete Opera Book." What Mr. Kobb? left undone has been supplied by Miss Katharine Wright, who is an indefatigably industrious worker also in the field of musical journalism. A complete opera book, carried out on the lines laid down in the beginning of this excellent work, would be not a book but a library, of scores of tomes; for the purpose is not the elementary one of briefly sketching the plots of all the operas in the current repertories, but dis? cussing their stories, expounding their musical structure and establishing their significance in the development of the lyric drama. So we have essays on various periods of opera from its in? vention down to to-day, biographical sketches of many of the composers and analyses of their tendencies, besides the stories of about 200 operas, begin? ning with three ?of the masterpieces of Gluck and coming down to the latest novelty produced at the Metropolitan Opera House last season. It was ii vast undertaking, and it has been car? ried out with zeal and no small amount of skill and discrimination. Including the index the volume contains 873 pages of letterpress and there are be s'des 100 pictures of singers and operatic scenes. Some errors have crept into the work, which was in? evitable in view of its comprehensive? ness, and we would have no time, even if w-fc had the desire, to dig them out and set them down in disparagement. They are more than compensated for by the Indubitable merit of tho volume und its lurgo utility. In one respect we have a small per? sonal grievance against its pages. There is no shadow of excuse for say? ing that the brilliant little work brought out in New York three years ago under the title of "The Impresario" is a comedy opera of Mozart's, pro? duced in 1786, introducing Schikaneder and the composer. All the music heard in "The Impresario" was composed by Mozart, but none of it for a comedy opera of the kind described. "Der Schauspieldirektor" was a play, written on an occasion for the entertainment of royalty, In which the theater and theatrical people as well as popular dramatic tastes were satirized. In the comedy occurred a scene in which rival prima d,ortna_ sang airs to show their ability, and got into a quarrel concern? ing precedence when hired by a man ager. For this scene Mozart wrote ? few pieces of incidental music. The comic opera was concocted long after Mozart's time, and some of its music was adapted from Mozart's songs which wore introduced by Schneider, who made the libretto for the opera which is in no manner associated with the original comedy, and by Mr. Kroh biel, who built his little lyric corned) on Schneider's foundations. It is un? fortunate that the impression has gon? out from writers who have shown a singular obstinacy toward the facts oi history that Mozart wrote an opera le which he and the librettist of "Th. Magic Flute" were characters. a Operas at the Metropolitan Rimsky-Korsakoff's fascinating open pantomime, "Le Coq d'Or," will havt 'its first performance this season at thi Metropolitan Opera House next Frida: evening. The cast will include Mmee Garrison, Sundelius, Robeson, an? Messrs. Didur, Diaz and Ananlan. Th j chief pantomimists will be Miss Galli Mr. Bolm and Mr. Bartik. Mr. Bo danzky will conduct this work for th first time,' The preceding opera wil be "Cavdlleria Rusticanu," sung b; Miss Muzlo and Messrs. Crimi an Chalmers. "The Blue Bird" will bo repeated o Monday evening, with the original cast Other operas of tho week will bo a follows: "L'ltaliana in Algeri, Wednesday, with the usual cost, ir eluding Mme. Besanzonl and Mossn Hackott, Do Luca and Plcco; "Faust, Thursday evening, with Mme. Farm and Messrs. Martinelli and Didur "Samson et Dalila," Saturday mating with Mme. Besanzoni and Messri Caruso, Amato and *_Jurdone_; "Tosca Saturday evening, with Mme Farm and Mesan. Haokett and Scotti. Concert Programs SUNDAY Carnegie Hall, 8 p. m. Concert by the Philharmonic Society: Symphony No. 2 in E minor, Op. 27 Rachmaninoff Tone poem, The Swan of Tuonela" Sibelius Concerto in G minor, for violin and or? chestra .Br?ck Eddy Brown Prelude, Tha Masters infers".W?*gnei Aeolian Hall, 8 p. m. Concert by th< ; Symphony Society: Symphony No. 8 in B minor, "Path?tique," Tschaikowsk; Fugue from String Quartet, 0;> ;. B??ethovei Concerto for Piano with Orchestra in A minor .Schumani Miicha Levitzki ? Princess Theatre, 3 p. m. Piano am violin recital by Herbert and Mar; Dittler: Sonata B minor. For violin and piano.,.J. S. Bsc Sonata A minor. For violin and piano ..,.John Irelan Son.?:? C minor, Op. 21. For vloH i and piano....Ernst von Dohnanj City College, 4 p. m. Samuel J Baldwin's free organ recital: Fantasia and fugue in B flat.Boel Carol for flute stops.D'AquI Chor?is prelude?"Adorn Thyself, O Fond Soul". Bac Sonata in A minor.?. .Borowsl Chanson Plaintive.Lynarsl Prelude Pastorale.;. Liado Chromatic prelude and fantasia.Chuff! The Swan .Sainfc-Saei Pomp and Circumstance.Elgi Maxine Elliott's Theater, 8:15 p. i Recital by Mme. Yvette Guilbert: Legenda Miraculeuse?: Le Miracle de St Berthe, la Manchette ? les Trois Journ?es de la Vierge Mai (fifteenth century). (The miracle of St. Bertha, the Armlet or the three days of the Holy Virgin. First Day: The Departure. Second Day: The Journey. Third Day: Christmas Night when the Le gives arms to the armless servant that she may aid Mary In giving bli to the Saviour In the stable and hi rock the child. La Ballade du Mauvais Riche (the Ball of the wicked rich man), sixteenth c? tury. Legendes imit?es dm Epoques Feodnles : Les Anneaux do Marianaon (fifteenth ci tury). Le Roy Loya (sixteenth century). Satires des Jongleurs at Trouv?re? (th toenth century) i Um Kanal? ?de Itotaa ?se Moataoctoa. Le blasme des femmes (Jacques Damien). Modernit?s. Le Soularde (words and musie by Jules Jouy). Ecoutes dans le Jardin (words by Francis Jamm-s, music by G. Ferrari. . La Femme (words by Jules Laforgue, music arranged by G. Ferrari). Hippodrome, 8:15 p. m. Concert by the New Symphony Orchestra, Mischa Elman and John Charles Thomas: First and third movements from the suite for orchestra, "Tsar Sultan". Rimsky-Korsakoff Concerto for violin.Mendelssohn Mischa Elman Recitative and aria, Eri Tu ("Un Bailo Maschera" ) .Verdi John Charles Thomas Overture, "The Flying Dutchman". .Wagner Rachem.Mana Zueca Ah, Love but a Day.Mrs. H. H. Beach Floods of Spring.Sergei Rachmaninoff John Charles Thomas Nocturne . Grieg-Elman Contre Danses .Beethoven-Eiman The Blue Lagoon..Millocker-Winternitk Zigeunerweisen . Sarasa te Mischa Elman Rakoesy March. MONDAT Aeolian Hall, 8 p.m. Concert by the Hambourg Trio: Trio, Opus SO......Joseph Jongeo Sonata, Opus 24, for violin and piano, Sylvio La__ari Trio, Opus 70, In D major.Beethoven At 8:15 p. m. Concert by the New York Chamber Music Society: Scherzo-Caprice, Opus 14, in A minor.Mason Quintet for clarinet, two violins, viola and 'cello.Mozart Quinet for wind Instruments. .Lew Sowerby Trio in F sharp minor.Joseph Jongen TUESDAY Aeolian Hall, 8 p. m. Song recit%_ by Allen McQuhae: Where'er you walk.Handel Adelaide.Beethoven The Snowy Breasted Pearl.Old Irish Foggy Dew.Arranged by-MUligan Fox In Dublin's Fair City, Arranged by Clifford Page Molly Brannigan, Arranged by Villiere Stanford Lilacs .Rachmaninoff Serenade .Brahms A Dream..Grieg Your eyes so wondrous.Wilson G. Smith Jean.Charles Gilbert Spross My Little House.Seneca Pierce My Little Boy Blue.Milton Lusk The Bitterness of Love.Dunn Macushla .MacMurrough The Old Plaid Shawl.Battison Haynes Believe me if all those endearing young charms.t.. .Old Irish The Minstrel Boy. Arranged by William Arms Fisher At 8:15 p. m. Song recital by Ellen Rumsey: Three airs in the old style?Intorno all* Idol mlo (from "Orontea").Cestl Quando ti rivedro.Donaudy Amor ml fa cantare.Donaudy For Whom??At Their Spinning?Swal? low, Tell Me?A Maiden?Enduring Love (all in English).....Brahms Chanson d'automne.Faure Le Moulin.Pierne Alger le Soir.Fourdrain Serenada . Gounod Folksongs, new and old?A ma berg?re, French, arranged by Wekerlin ; The Bells (new), Russian, Steinberg-Med vedi.fT : Lullaby, negro, arranged by Wilde: The Bells of Aberdovey, Welsh, arranged by Somervell ; Love of My Heart and Helgho, the Morn? ing Dew, Irish, arranged by Wood. Carnegie Hall, 8:15 p. m. Concert by the Philadelphia Orchestra: Overture, "Hebrides" .Mendelssohn Concerto for piano and orchestra, in A minor.Schumann Alfred Cortot Symphony No. E, in E minor. .Tschalkowsky WEDNESDAY Aeolian Hall, 3 p. m. Piano recital by Mnurice Dume.nll: Andante con variaslonl, in F minor. .Haydn Soriiita, Op. f>7 ( Appassionato)... Bet i > n Pialad-. Debut-/ B-il-U dans rg*tt..?...?....-.?-.J?-b.-uy i Calendar for t?e ?nmnt Wttb SUNDAY?Carnegie Hall, 8 p. m., concert by the Philharmonic Society; 8:15 p. m., song recital by Cantor Josef Shilsky; Aeolian Hall, 8 p.m., concert by the Symphony Society; Metropolitan Opera House, 8:30 p. m., concert by artists and chorus of the Metropolitan Opera Company, Gounod's "Gallla" and Rossini's "Stabat Mater"; Hippodrome, 8:16 p. m., concert by the New Symphony Orchestra, Mischa Elman 'and John Charles Thomas; - Princess Theater, 8 p. m., concert of sonatas for pianoforte and violin by Herman and Mary Dittler; Maxine Elliott's Theater, 8:15 p. m., sosg recital by Yvette Guilbert; City College, 4 p. m., free organ recital by Samuel A. Baldwin; Washington Irving High School, 8:15 p. m., concert of chamber music; Waldorf-Astoria, 11 a. mn Mr. Bagby's Musical Morning; MONDAY?Metropolitan Opera House, g p. m., French opera, "L'Oiseau Bleu"; Aeolian Hall, 8 p. m.? concert by the Hambourg Trio; 8:15 p. m., concert by the New York Chamber Music S*ociety; Park Theater, 8:15 p. m., Eng? lish operetta, "Iolanthe." TUESDAY?Carnegie Hall, 8:15 p. m., concert by the Philadelphia Orchestra; Aeolian Hall, 8 p. m., song recital by Allen McQuhtte, tenor; 8:15 p. m, Bong recital by Ellen Rumsey; Park Theater, 8:15 p. m., English operetta, "Iolanthe." . WEDNESDAY?Aeolian Hall, 8 p. m., pianoforte recital by Maurice Dumesnll; Sixty-third Street Music Hall, ' recital by Mr. and Mrs. Alexander Bloch; Metropolitan Opera House, 8 p. m., Italian opera, "L'ltaliana in Algeri"; City College, 4 p. m., free organ recital by Samuel A. Baldwin; Park Theater, 8:15 p. m., English operetta, "Iolanthe." THURSDAY?Carnegie Hall, 8:15 p. m., concert by the Boston Symphony Orchestra; Aeolian Hall, 8 p. m., song recital by Ethel Frank; 8:15 p. m., pianoforte recital by Augusta Cottlow; Metropolitan Opera House, 8 p. m, French opera, "Faust"; Park Theater, 8:15 p. m., English operetta, "Iolanthe." FRIDAY?Metropolitan Opera House, 8 p. m., opera in French and Italian, "Le Coq d'Or" and "Cavallerla Rusticana"; Aeolian Hall, 8:16 p. m., ?con? cert of folksongs and ballads by Loraine Wyman and Howard Brock way; Carnegie Hall, 8:16 p. m., concert by the Oratorio Society of the Christian Science Institute; Hotel Biltmore, 11 a. m., morning musical; Park Thea? ter, 8:15 p. m., English operetta, "Iolanthe"; Academy of Music, Brooklyn, 8:15 p. m., concert by the Boston Symphony Orchestra. SATURDAY?Aeolian Hall, 11 a. m., symphony concert for children; 8 p. m? pianoforte recital by Edward Morris; 8:30 p. m., concert by Mary Cavan and Otokar Marak; Carnegie Hall, 8:30 p. m., concert by the Philharmonie Society; 2:80 p. m., concert by the Boston Orchestra; Metropolitan Opera House, 2 p. m., French opera, "Samson et Dalila"; 8 p. m., Italian opera at popular prices, "Tosca"; Metropolitan Museum of Art, 8:15 p. m, free orchestra concert; Park Theater, 2 and 8:16 p. m., English operetta, "iolanthe." \ El Puerto.Albeni? El Albaicin.Alhenls Carillons dons la Bate (A tone picture of Douannaiea, Brittany).Vulllemln Two Studies? In D flat (Un Sosplro).Liszt La Campanella .Liszt Noct?re, No. 1, In B flat minor.Chopin Waltz, Op. 64, No. 2.Chopin Impromptu No. 1, A flat.( n Polonaise, Op. 53 .Chopin Sixty-third. Street Music Hall, 8:15 p. m. Sonata recital by Mr. and Mrs. Alexander Bloch: Sonata in B flat major.Mozart Sonata in G major, Op. 13.Magnard Sonata in D minor, Op. 108.Brahms THURSDAY Aeolian Hall, 8 p. m. Song recital by Ethel Frank: Apporte les Cristaux Dores ; Freie Comme un Harmonica ("Heures d'Et?"), Rhene-Baton Chanson H?bra?que.Rimsky-Korsakoff Rima . Turina Oriental Chant ("Josua Navine"), Moussorgsky Hymn a l'Amour.Mouret Violette . Scarlatti Air ("Jules Cesar") ...'.Handel Romance Sans Paroles (flute, clarinet, bassoon and string quartet).Defosse I^a Nuit dans L'Izba (flute, clarinet, bas? soon, two violins, one viola, four 'celli and tomtom) V.Erlanger [ La Mort des Amants (piano and 'cello ob bligato) .Rhene-Baton Carnaval (entire orchestra). Erlanner Over Hill. Over Dale.Cooke Adieu to Delight.Graeff Love Was Once a Little Boy.Wade Papillons Roses .Woollett Un Sapin Isole (Poeme Hindou).Delage Rosa la Rose.Widor Le Nouveau-ne .Bruneau La Mere . Lacroix Aeolian Hall, 8:15 p. m. Piano re? cital by Augusta Cottlow: Sonata in A minor, Op. 101... .Beethoven Three Etudes (composed for the Moa cheles and Fetis method) ; Fantasia, Op. 49 .Chopin Dirge (manuscript).S. Walter Krebs Lesghinka, Op. Il.Liapounow Carnegie Hall, 8:15 p. m. Concert by the Boston Symphony Orchestra: Symphony in C minor, Op. 1........Brahms Overture to "Iphigenla-in Aulis".Gluck Prelude to "Parsifal".Wagner Symphonic Poem, "Stenka Razlne" Glaso?noff FRIDAY Hotel Biltmore, 11 a. m. Morning musicale: Aria, "O tu Palermo" (from "Vespri Siciliano"). .Verdi Mr. Mardonea. Caprire Viennois.Kretaler Sicilienne et Rigaudon... F rancoeur-K re U 1er Minuet ta O .Padorswsk?-Krulaler Misa Msngs*. Car? Mie B?a.?.^???<??^??????????Qtantanl Viaion? V-neaimn*.?.Bred 3 Russian Song . . .DrowSi 1 Mm_ Deitfnn. .__ Spanish Songs: ._ _ , ., ?Mr. Ma-done?. ? [, bouvenlr; Maiden Song.Emmy De-Una _. ?v^*.??. _ LI V. * *-;.Ts.haikow.ky f Vissi dArte" (from "Tosca").Puccini '?< Mme. Destinn. Ave Maria..Schubert-Wllh_l__f *? Prophet Bird .Schumann-Aoe_ * Valse Caprice .C_abrfar\- *| _ Miss Menges. ''?"* f?.nd ?.??.M. L. Bootsfort ' r-rm? FroJi ?pera DubrovBky...Hapravnik I l. Ultima Canzone .iy?tl -" Mme. Destinn.. Aeolian Hall, 8:15 p. m. Folksong . recital by Loraine Wyman and Howa?r i Brockway: As I Walked Out One May Morning. Sporting Bachelor*. Young Edward. '" . Noah's Ark. j (In manuscriptt first t?as? given.) ! Charming Beauty Bright. gfl Come All Vou Young and Handsome d?_k?. Sweet William and Fair Ellendor. ;-;ll No Sir, No I -jr.*? : Swapping Song. .r*tt I (In manuscript; first time given.) ??*? ? Lepo Lele. _? A Wedding March. I-**1 The Wolf and the Lamb. ~f. \ (Armenian folk tunes arranged by SK. rm. xtB_'<?c,cw5j *or tbe pianoforte.) . I'i The Nightingale. . , The Ground Hog. Billie Boy. . ' Frog Went A-Courting. *. ("Lone-om- Tune?**). _ ? ai SATURDAY J? Aeolian Hall, 11 a. m. Concert M '" child?en by the Symphony Society: )i(_ Introduction to Act HI, "Lohengrin." Wagn* Overture. "FVelachueta' .V?>_?r .A Nocturne" (from "Midsummer Night'? ?Dre-??n') . Mend-i??o_a ,??r ,Movement from Symphony No. *. Path?tique" . T-chaikow?lr/ ;( March from "Aida".....Verdi At 8 p. m. Piano recital by Edward . Morris: Pastoral?; Capriccio.Scarlat* ?_ Sonnte, Op. 67.B-etho*e?ji| Etude In F major. Op. 10, No. fc ; B?r- ' i eeuae: Etude, in Thirds. Op. 25. No. ?: ?* Etude in E major. Op. 10, No. 8*..?*?* Scherzo, Op. 20.Chop*? ,., Intermetio in Octaves.Le?cheti_-T, ?| May Night . Fa__?r**f?,*.I Hungarian Rhapsody Na, 0.TJJm^ Carnegie Hall. 8:80 p. m. Concert W% $ the Philharmonic Society. ...^ Aeolian Hall, 8:80 p. m. Song recita ji by Otakar Marak, tenor, and MafJ.^g Cavan, soprano : . 5,*1 Invocation from "Radamifto".Baai|E^*?l (Arranged tor concert by Prank BlbW tf^fi OonU3M$d en neat page ?Jjj?