New-York tribune., 1908-01-19
MUSIC.
FoLKsoNes FOR YOUNG PEOPLE.

Pursuing his general plan Of illustrating the in
fuence of folksong orchestral music. DR.. Frank
Damrosch at the third Symphony Concert for
Young People, in Carnegie Hall yesterday after
noon turned his attention 20 the songs of the
French, Italian and Spanish peoples, prefacing
each section of the programme with q few re-
marks upon the characteristics Of the songs The
programme was laid 10 have a charac-
.stic orchestral piece follow four songs This
admirable scheme was disturbed by the circum-
stance that Emilio de GogorZa, who was TO have
sung the songs, was taken down with the grip
on Friday evening. Mr.. Claude Cunningham was
offered a substitute and filed bin which all
who know what fine artist Mr.. de Gcgorza is
viii recognize having been extremely diff
cult one spendidly. There only serious
disappointment. Mr.. Cunningham is too conscien-
tious artist TO do things 10y halves, and. con-
Tossing Unfamiiiarity with the Spanish language,
he omitted the songs in which Mr.. de Gogorza
would surely have given his hearers unique pleas
ure. Instead OF them Mr.. Cunningham sang a
single bolero from the Pyrenees The French
songs. especially. but also the Italian, given
with fine voice and STYLE and capitalIy supported
b. Mr.. Rosenstein at the pianoforte.
In TWO OF the orchestral numbers quotations were
found Of material that had been previously pre-
scented by the singer. This was the case with
Iitolff's overture ''Robesperre,'' in which La
Marseillaise' is dramatically employed, and Mas
sonets Scenes Napolitaines,' which two Of the
Italian songs contributed their melodes-''Luisel-
Ia a Neapolitan folksong. being the theme of the
EeCtitn OF the composition Gntfted lrnprON1SS-
tsur, and Carolina one Of the themes OF La
Fete' To illustrate the rhythm OF the tarantella,
'Cicerinella,'' another Neapolitan folksong, was
used After the Bolero which took the place of
the Spanish song DR.. Damrosch introduced or
chestrai transcription of 4 Piedmontese folksong
beginning ''Spunta il sol la luna" by Sinigaglia,
an Italian composer, whose name unknown TO
New York programmes until shot time ago. OF
his Dame Piedmontesi'' nothing more can be
said than that it is happy orchestral transcript
hot fS
purpose in the scheme of the concert very well In
deed.
\ word IS due TO the French songs which DR..
Damrosch used Scientifically speaking, only two
OF the four were folksongs
From q musical point of view the most exquisite
of them lie pauyre Laboureur," which comes
from the ancient district OF Bresse- 1t was sung
with singular grace by Mr. Cunningham la
Marselaise,' though not so specified is. as every
body thinks he knows and ought 10 believe he
knows or know he knows, after the ToluminouS
contention touching its authorship, in words
and music, the composition of Rouget de Lsle.
There is a periodical outbreak OF the discussion
about it, but the original story has not been
shaken De Iasle received a pension from the
French government for writing the words; he
ought TO have received another for writing the
music which aniInates them so wonderfully 1t
was either Klopstock hotzebue who addressed
de Iisle with the words: Monster. Barbarian!
How many thousands of my brethren hast thou
slainr' Esranger wrote LIE Roy d'Yvetot,'
bacchanaIian song with political favor, in 1913,
but the melody is that Of an older song, 'Quard
IN tendron Went en- Iieux." The last of the
French songs was the dainty thing which, in par:
at least and innocency, is in every French
child's mouth. ''Au Claire de la Lune" It was
startling 10 see the rather ponderous name of
Iui after the title
None OF Dr. Damrosch's Concerts for Young
People has been more delightful than was this
since he had his youthful listeners keeping time
with the music with hearts and feet IN the first
O. the concerts illustrating the influence OF the
dance On the symphony last season But an Of
the music was not well played; there were signs
eF insufficient rehearsal