New-York tribune., 1914-11-23
SUNDAY CONCERTS
ATTRACT THRONCS
Nine. De Pasquali Sings
at AeOlian Hall-Other
Programmes.

Sunday is the day Of days for the
cnncert gjyeH7vy.- III r HsQuaH was the
first TO enter the lists, with an after
moan, reGifel. IN alH,r lyesr9tuHy was only
the beginning Of the deluge.
Nine ~RerniGn ..9e,Iair -narf,i at wnicn
large audience manifested much
pleasure. Nine. de Pasquali is remem-
bered from her association with the
Metropolitan Opera Company, of which
she is still member, though she has
not sung there for several years. Her
voice was never a great one, nor was
her skill in cOlOratura such as would
bring back the glories of DonizzettIan
days, and she showed little change in
her song recital yesterday. She was,
too, inflicted with a tremolo. Yet, on
the whole her singing possessed not a
little merit, and in her group OF old
Italian songs she brought out their
spirit with understanding and SYM
pathy.
other numbers on her programme
were the great air from Hamlet
Mozart's 80 Dolce Contento," songs
by Vanzo, Wolf-Ferrari, Fourdrain and
Tschaikowsky and an American group.
The afternoon closed with Ernesto
Kohler's Geo" for which flute obbli-
cato, played by Marshall Lufsky, had
been written for Nine. De Pasquali by
Professor De Lorenzo. In short, the
American sopranos recital was inter
esting and in many respects worthy OF
praise.
To the lovers of the esoteric in
music there was pleasure IN the sea
sons first concert given by the Bar
rere Ensemble at the Belasco Theatre
in the evening. The concert was given
i'm conjunction with David Bispham.
MIR. Bispham's voice has not improved
with the passing years. but his enthu-
siasm Is as great as ever lie sang, be-
sides a number Of songs. two excerpts
from the California Forest Festival
Plays" one of which the Prologue
from Henry Hadley's "The Atonement
of Pan" was both melodiOus and dra-
matically effective Mr.. Bisphan also
sustained the solo part IN Ward
Stephens's "Ecstacy,' the words by
Victor Hugo. in q translation by
Charles Henry Meltzer, to an accom-
paniment OF two flutes. two oboes. two
clarinets, two French horns, one Eng
lish horn, two bassoons, one contra
bassoon and piano. The composer
hims elf was at the piano.
The composition began promisingly,
but the vocal part was less pleasing,
though the effect was not enhanced
bv the worn-out condition Of the
barytone's voice. Other numbers on
the programme were two short pieces
by George w. Chadwick, amusing and
amusingly played; Suite in the
Olden Style" by Mr.. W. Hill; How
ard Brockways "eclogue," Solitude"
and q humoresque by Victor Herbert,
in which the ensemble was directed by
the composer himself. Mr.. Barrere had
devoted the entire evening TO works by
American composers, very praise
worthy and not unsuccessful effort to
bring out compositions native to our
soil.
The Barrere ensemble fills a note
worthy place in New York's musical
life. and If its appeal is only TO "A linn
tied public, it is an appeal that is none
the less genuine. Far from the top
notes of tenors and the crash Of brass
there is surely a place for the still,
small voices Of the flute, oboe and
clarinet.
The first Of the Sunday night con-
certs at the Metropolitan Opera House
brought forth an audience Of moderate
size. The singers, who were Miss Lu-
crezia Bori, who sang very charmingly
an air from "Manon" and "Un bel di,"
from "Madama Butterfly" and Arthur
Middleton, the new American barytOne
Of the company, whose singing Of The
Evening STAR" and "Tbe Air du Tam
bour Major" emphasized the favorable
impression made by his Herald in
"Lohengrin." His voice, while not a
large one, is well trained and of firm
texture and musical timbre, while his
dction, both in French and German,
was more than excellent
Frank Gittleson played the Bruch
violin concerto in G minor and num-
Der Of shorter selections, and the or
chestra. under the baton Of Richard
Hogeman, gave the "Meistersinger"
overture, the Ballet Suite from lie
Cid" and Saint-Saens's "Marche He
roique."