New-York tribune. [volume], January 04, 1920, Page 6, Image 40

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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?