The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-06-06

by Mr.. Xlmbalist It attained a high
beauty. MIR. Stock conducted the per-
Torrance.
The concert concluded with Dvorak's
"Stabat Mater conducted by Rich
mond l.. Paine, conductor of the chorus.
The sololsts We're Florence Hinkle, So
prano: Margarete Ma~tzenauer. con-
tralto Paul AlthOuse. tenor. and Clarence
Whitehall. bass. This work gave the
visitors the first opportunity to hear the
Litchfield choristers. The foundation Of
n festival plan IL the chorus, for tho
performance OF works made for It. with
sololsts and orchestra, IL the one festival
feature which may greatly exceed the
conditions of ordinary concerts. The
singing OF the Litchfeld chorus Is of the
highest order. and It's delivery OF the
music of Dvorak was marked by quality
of tone. by fine phraslng. balance. clar-
ity n beautiful shading. Perhaps the
highest expression was reached in the
"sancta Mater. lstud agas." The solo
lists all sang well and tho old work
sounded wholesome n refreshing.
The second evening was devoted TO a
performance of Berlioz's "Damnation of
Faust" Of which little need be said.
Herbert Witherspoon. who is n favorite
of fourteen seasons in Norfolk, sang the
music OF Nephtstophcies with great ex-
pressiveness and with n fine appreciation
OF It's sardonic points. Mr.. Althouse
perhaps found the Faust music a trife
high at times, but his singing was bet
ter than anything he has done at the
Metropolitan. George II. Downing de-
livered the one song of Brdndc,' excel
lently. The solitary dull spot in the
concert was tho inadequate attempt Of
Eleanor Painter to sing the music OF
Marguerite. The young woman voice
showed the wear Of a hard season In
operetta and she was none too well &C
quainted with her role. The chorus.
which on this evening contained more
men than ut tho previous concert. did
not sing quite as well.
The final concert was that in which
tho traditional festival concessions had
to be made. These concessions acceded
to the demand of the Unsuitable auditor
that the soloists shall do something not
too serious and more I'm the lire OF their
the programme was not symmetrical and
It's range of musical merit was Some
what Mr.. whitchill. who
had originally been scheduled to sing
rev ong by Sir Charles Nilliers STAN
ford, was obliged to troll that shop worn
ditty OF n Spanish Inn the toreador song
from Carmen Also he sang an en-
core number. a French song fit for a
sunday pop" I'M Case. who makes
infrequert emergencies at the Metropoli-
tan. attacked the mad" scene from
Lucia" and there was much MADNESS in
her method of singing II. II would be-
diiNcult to obtain a more stridcnt and
strained series of tones than this young
woman emitted In her upper scale. tones
produced by a process OF sheer forcing
fraught with grave danger to the lovely
natural quality Of her voice. But she
received the priceless demand for more
and sang "pepuis le Jour- In a very
melancholy stylc.
The real business of this evening was
the hearing OF two novelties. The con-
cert began with Sohubert's unfinished
symphony. conducted excellently by Ar
thur Nees. Then came the new plano
concerto OF Sir Charles Villlcrs stan
ford. who was to have conducted 1t him
self. Arthur Mees was an admirable
substitute, for the former aid OF Theo-
dore Thomas has lost none Of his cum
ninG. The soloist vas Harold Bauer.
who. let IL be said at the outset, played
the new composition In a mastery man
ner. permitting not one fash Of its bril-
liancy. one stroke OF its incisive rhythms,
nor one wlnsome nuance OF It's melodies
tn escape the searching magic Of his
fingers.
The concerto itself. which is in G
minor. will probably escape enrolment
In the first rank. hut IL liz a composition
which may and in all likelihood will
find It's way into the repertOr.es of nu-
rerous concert pianists.
II has a brilliant first movement. re-
plcte with broad dangerous themetic
IDEAS. alternating with the necessary
ram rr Es- ~ gF1Vr., p,,1,l,s Pa. ,b. 500.
vailing character OF the movement is az
gressive. v'riie. and above all things
imhued Wit u fine confident temper. a
song Of ohullient jubllation written with
fervid energy n technical v%irtuosity.
The slow movement has a touch OF the
English countryside in its melody,
though some Of the treatment suggests
n respect for Dr. Brahms of Cambridge
University.
Thu last movement IS openly Irish and
its color may lead to the christening ~
the composition as the Irish piano
concerto, by the author OF the Irish
symphony II is a rollicking movement,
fun OF brilliant passage work for tho
piano, while IL is interrupted for a time
by a song passage built on the theme
Of the second movement. The concerto
as a whole makes a pleasing impression.
II has clements of popularity. which are
not inconsistent with musical value,
while its unfailinC tu~nefulness n the
sk!lful treatment Of the orchestra give
II a restful charm for the average
listener.
George W Chadwick. the dean ~ Amer
team composers. conducted the first per-
Torrance of his Tam o %Shantcr,' bal
lade for orchestra. II is substantially
an orchestral scherzo, unsteady illus
trating the principal incidents in Burns's
poem. II belongs to a class OF Cumpn-
si,ions by no means rare. and OF which
Dukas's "L'Apprenti Sorcier' Is per-
haps the most familiar example. But
Mr.. Chadwick has not INDUCED in the
idle effort OF following slavishly any
model. lie has made his own work
and mad it with n spirit. with an evil
dent enjoyment OF the handling of mod
ern methods and n technical ease quite
refreshing.
The composition has all the modern
improvements. including hot and cold
chromatic runs on wind instruments,
electrically light xylophonc passages,
aluminium white phrases for stopped
horns and trumpets. and various other
comforts OF the up to dato composers
happy home. with his orchestra the
DISTINGUISHED Academlcian illustrated
clever!y all the humor of Burns, and
indeed his defamation ton the horn)
OF the words We'll done. Guilty sarlt'' is
as fine as anything IN the score OF
"Falstaf." The EXTENDED slow move
ment which brings the work to its end
may be questioned. There is nothing
in the poem to Justify il and II is evil
IDENTIFY there because the musician felt
the need OF one sustained page or two
OF lyric beauty. The composition was