New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-01-26

zeal forms conyentionally associated
with countries of the Far East with MS
own inventions The countries when ne
essays thus to depict are Arabia Les
Elephants" desert picture; emma
"Chinoiserie." mandarins in merry
mood returning from a f6te at fekinI'
Groece-a moody piece with Swinging
lit designed to illustrate some stanIdS
from Victor Hugos sara 10 balS-
neuse." especially the whispered long
inss OF the INDECENT maiden swinging IN
her hammock:
Oh. 81 jctais capitaine'
ON sultane.
Dams IN balm de marbre Jahne'
Pres II un trdnc.
Entire deuX griffons dores.
Persia-music supposedly rejecting the
mood of a poem Of Godard's own "hicn
tells of maiden sad and beautiful
dreaming a dream Of social amuiuoh' Oh
how she would he a queen. Tirhey-a
hard and cruel march. enforcing the MOS
lem creed: There is no God bat Allah'
and Mahomet is his prophet vi lhT
musical elements which GODDARD emploNed
in his pieces not one belongs to the lolk
music Of the peoples whom ne attempts
to depict He may have caught the pom
derous stride Of the Arabian elethah's'
but he makes no essay OF the Aiaoid"
scale. His "Chinoiserie' is no mere I'M
nese than it is Greek. Persian or iurN-
ish as the remaining pieces profess 10
be. but arc not. Perhaps the music would
have stirred the fancy of its hearers more
than it did Yesterday if the poems Oh
L.econte de Isle. Auguste de Chatlllon'
Victor Hugo and GODDARD himself had peeh
printed on the programme. Inc mus"
would have not been made any uet'er ~
the procedure as music. but 1t wouIu ha'7
gained as a decorative element al ieas''
We have had several performances OF
the "Capricco Espagnol' of late sem
tillant performance by the Boston UT
chestra under Or. Muck fingers IN mem
DRY. though it was an ante-climaX at the
time because ii came after Floreh'
Schmitt's "Salome' music. The com
posers Of Holy Russia, which We are
prone to think OF as country with
cruel climate. seldom remembering the
delightful climatic and typographical as
meets which it ALSO encompasses. have
long shown a fondness for the music OF
Spain and have heard much more III II
than DR.. Norman Macleod not nlght'
disturbed by a guitar; witness Glinka
"Jota Aragonese." Rimsky Korsakow s
"scheherazade" and the caprice in which
the composer has tricked out an olborddo,
q dance song of the Spanish Gypsies, ana
a Eauddng0 Of the Asturias with all the
clistening tinsel OF modern orchestratlon.
The caprccio is an effective piece IN
nonular programme like that OF yester-
day i'm which the most serious number
was I.alo's Concerto in ID played 10y Jean
| Gerardv. and it brought suggestion 10
the mind Of the reviewer who was also
Obliged to hear some Of the Symphony
Societv's music i'm Aeolian Hall and
there very Unexpectedly. found that
Young local composer was making an
ESSAY with folkmusic OF different order
or that something shall he said presently
Now. the record of the Philharmonic so
! cietv's concert may lie concluded with
/ the statement that between the effolts
of the Frenchman GODDARD and the RUS
I sian Rimsky- * orsakow to give express
| sion TO the musical spirit of ARABIA.
| China. Greece (?). Persia. Turkey anu
Snain was heard the wholly effective and
convincing voice Of Glinka. the founder
Of the Russian school. proclaimlng It's es-
sence in his "Kamarinskai "That : the
WAY I'm which Russian themes should De
treated" said Oubicheh, when taking
Beethoven 10 task for his little excursion
! into Russian territory in the Rasoumow-
ski quartets.
AZ the concert OF the symphony Soci-
CIV in Aeolian Han Mr Walter Damrosch
provided a surprise FOR his audience by
resigning his baton In the last number
IN a member OF the orchestra ana per-
mitting him to conduct a symphonic suite
NJ his composition. The cOnductor-com
noser was Victor Kolar. young man.
horn IN Bohemia. who made some Of his
studies under DR.. Dvorak-the Czech who
by preccpt and example turned the atteh-
ton Of American musicians TO the POSI-
bilities of American folksong as aftlsuc
material. The programmes OF several
concert institutions and the catalogues OF
Soma publishers bear witness that num-
bsr Of American composers have taken
the lesson incuIcated by Dr. Dyorak to
beart George W. Chadwick, one Of the
hest OF them. has probably assimilated II
most completely. for. as there was occa-
sion to point out here a few weeks ago
! when Mr. Kneisel produced one OF his
string auartets. he has caught and bodied
forth the spirit OF American folksong. as
Dr Dvorak did. without using folkson1
tunes literally. as Henry Schomberg. Ed
ward r. Kroeger. John \. Brockhoyen
Henry Gilbert. w n. Humiston and
others have done Mr.. Kolar's compost
tion WAS set down on the programme
simriy as a symphonic suite" but with
the first phrase which came from the
orchestra 1t was made plain that II was
In be an American" as well as sym
phonic suite" for the phrase was Nari'
ant o, that which opens the old slave
SOM "Deep River" which Coleridse-Tay-
Tor turned into a beautiful pianofort'
niece and Maud Powell transcribed FOR
violin. There we're four movements IN
the suite. the first Of which rather heavily
and much too laboriously announced some
Of the thematic material when was TO %
developed later. an. therefore seemed too
much like 'thundcrinG I'm the index" IL
As well az the more satisfactory second
moyemcnt left the minds Of tho listeners
l morn or loss in the dark hut when IN,