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THE FIFTH SUBSCRIPTION
CHORGL-SYMPHONY CONCERT

Despite the fact of distinct successes
scored by each of the soioists at the fifth
subscription concert of the Choral-Sym-
phony Orchestra at the Odeor last night
the feature of the evening was the excel
lent rendering of Tschaikuwaty's Sym
homie Pathetique" tho. g. By the orchestra
Itself. the first number on the programme.
This. OF course. was the mes. ambitious
enceayor of the evening, as well but some
times ii so happens that soioisis or maybe
II minor number. may sound the m aster
note of such a concert. Happily. however.
Mr.. Ernst and his players gave SO admir-
able an, Interpretation of the great Tschai-
hovstsys symphony that there WAS no room
for doubt as to the browning triumph last
night. The treat was thoroughly appreci-
ated by a large and brilliant audience
The Symphonic Pathetique" reveals the
genius of TscEakowsky to a singularly sat
isfying extent Its theme is Temperament
tally suited to the Russians moods and in
its arrangement he makes the most impress
sive employment Of the modern orchestra
dramatically. well as musicaIly utilizing
every instrument with fine effectiveness
There may have been greater early COM
poseIs in this lofty field, but it may be
Gained in all frankness that Tschaikowsky
at least suIpasses theic compositions in
that he commands an amplitude of orches-
trail material utterly unknown to them. In
the symphony of last night this truth was
made convincingly plain.
The four movements of the composition
were treated with keen sympathy by the
Choral-Symphony organization. The first.
the adasio allegro non troppo, rich with a
somewhat melancholy atmosphere. received
Effective Interpretation. The second move
mont, allegro non graza fascinating be-
cause of its strain of barbaric wildness,
contrasted strikingiy with the first and the
contrast was brought out most colorfully
in the. playing. The allegro motto vivace
movement furnished lighter aspect in this
phase of the theme. and then the COMPOST
TONS close, the touching adagio lamentoso,
with its skillful employment of the deeper
horns, completed an Interpretation that
could not easily be improved upon
The opening number of the programme
second half introduced Miss Ada Crossley,
the contralto soloist, in Haydns ara, the
Spirit Song and the first bel-like tone
from Miss Crossings throat promised the
success that followed The tenderness of
Haydns composition was appreciated by
the singer, who revealed in its treatment a
voice of sincere sympathy and OF much
fexibi!ity. For the encore insisted upon by
her audience Miss Crossley sang the "Aller-
selen" of Strauss, rarely heard and ex-
quisitely beautiful. Lecncavailo's elegiac
medley for strings was the next number and
was delicatey given.
S.gnor Emile de Gogorza's first number.
the baryfone solo prologue, from 81 Pag
lacci." was an instant success. The singers
method is dramatic and sometimes forid,
and he POSSESSES a magnetic as well as
tuneful voice. He also was compelled to
give an encore. choosing the spirited and
fantastic Figaro aria from III Bargiere de
Seviglia." Following the orchestra'a fine
study of the Introduction to the third act
OF ''Tannhauser,'' Miss Crossley was again
heard in group number, Giordani's "Caro
milo ben; Hahn's "Baysase." Tschaikows-
ky's "Nur wer die Sehnsucht Kennt'' and
the dainty ''Four-Leaf Clover" of welleby,
the singer confirming her earlier success.
This, also. was the case with Signor de
Gogorza's group number. Martins ''Plaisir
dAmour." Rubinstein's "Es Blinkt der
Thau.' Hildachs ''Lenz' and Tschaikows-
ky's "Serenade de Don Juan in which a
deeper sentiment was possible than in this
singers first number and encore The pro-