The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-11-30
MUSIC OF BALLETS
LED BY DAMROSCH
New Composition by Maurice
Rayel in Latest Fashion Of
French Art.

The symphony Society OF New York.
Walter Damrosch conductor, gave ltS
fifth Sunday concert At Aeolian Han
yesterday afternoon. The programme
was planned to illustrate the ballet mu-
sic OF France from Lully's time 10 tho
present. The numbers were the over
lure and gavotte from llmeaus
"Platee," ballet airs from GlucKs "lph-
genie en- Aulis" three movements or
Delibess sylvia" four dances from
Massenet's lie Ga the bacchanale
from Saint-Saenss Samson ct Dalila"
and a symphonic fragment from Ravers
ballet "Daphnis ct Chloe" There were
also two vocal numbers, sung by Fe.ce
Lyme, soprano.
The subject matter OF the instrumental
programme might easily be made the text
for an essay on the whole progress OF
music in France and with n special
temptation to enter into extended dis
cussion OF the contemporaneous art. But
despite the brilliant and stimulating CON
trast furnished by the performance OF
Ravers music after that Of the august
dean OF the conservatives IN France this
temptation must I've resisted.
The most interesting Of living critics OF
music and musicians. Roman ROLAND
has pointed out a great danger which
stands In the path OF French music. In
spite of the growth of the democratic
spirit in the nation its tone ant Is stll
aristocratic. 1t is II anything moro
SO than ever before, and NJ. RaveNs
"Daphnis ct Chloe Is an admirable eN-
ample OF it, latest tendencies Of thought
and methods Of expression
But reference can again he happily
made to NJ, Roland, who declares that
the present musical thought or France
while possibly not the strongest In Eu'
rope, Is certainly the most original
About this there can be no question.
We may not like such music as De
bussys or that Of his comrades In the
| forward movement, but We cannot be
blind to the fact that 1t is the only mu-
steal art In Europe to-day that has a
| clearly defined individuality and bril-
liant originality of style. Whether II
has come 10 stay or to he succeeded boy
something SIN further removed from
the speech of the fathers no one can
gay, and this purely speculative question
need not concern us.
1t liz sufficient for the moment 70 note
that the symphonic piece made from NJ
Ravers ballet music and delineating GER
tain scenes In the dance OF action Is firm
~ drawn, picturesque in character, rich
in new and ingenious orchestral cowb.-
nations utilized with artistic meaning
and that 1t has none Of the vagueness OF
purpose which so often puzzles listeners
10 the so-called futurist music.
| In Aeolian Hall its heavily scored dy
mamie clirnaxes were not well placed. They
sounded much too loud. But the less In
sistent parts of the composition disclosec
large and captivating beauties In
which rhythmic strength and melodi,
specially united with the newest har
monte combinations Furthermore, thi,
music has poetic Imagination. The com
position was admirably played, but at thu
end of this record OF first impression re-
mains the doubt as to he general ap
peal of this truly Rristocratc type o
music.
Miss Ivnc was once upon tlluc
member of Mr.. iIammcrsteu's comp1u'
) here and afterward In London, In tn
latter city she achieved much distinction
as "A colornture singer II was IN Colora
turs that she was at her best yestcr
day. Her delivery OF the SHADOW Song
= Com "Dnorah' wns facile and ha'
beauty OF tone. but her previous sineln'
, of Moaart air had little suavty, pos
or style.