New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-03
CHORAL music BY
BRITISH COMPOSERS
Columbia University Che
rus Performs Works by
Elgar and Harry.
BY II. L. kREHBlEL.

tOnOuCtcu d! after ISuls nan gu
aided by M,ss Mildred Potter, con
tralto: Clarence Whitehill barytone;
a orchestra Of sixty men and some
singers recruited from the ranks Of the
Brooklyn Oratorio Society, the Colum-
bia University Chorus gave concert
in Carnegie Hall last night. at which
two works. both comparatively unfamii-
lar to the people Of New York, were
performed.
The compositions were Hamilton
Harty's setting for barytonc, chorus
and orchestra Of Walt Whitman's "lhc
Mystic Trumpcter' and Sir Edward Eli
gar's setting for contralto solos, chorus
and orchestra OF Arthur Onslaught
nessy's "The Music Makers The lat
ter work was heard at ono Of Professor
Halls concerts, on April Is, 1913, and
the former on April 10 Of last year.
Both performances had much TO COM
mend them, but circumstances stood in
the way of their complete enjoyment.
Mr.. Hsrty's csntata was made TO
follow Handel's serenata, "Acis and
Galatea,' which began late and occu-
pied an uncomfortable time in per
Torrance, so that the cars and minds
Of the audience were weary and faded
before the now music came. Cigars
work. which was associated with Sui
livan's Golden Legend" had the bot
ter place on the programme, but the
concert. like its predecessor as well,
came so late i'm the season that it
could not arouse much popular in
tcrcyt
Even last nights concert, though
coming Al q time when ~ could not
be said that the lovers Of choral music
we're stated. was not wholly fortunate
i'm its arrangements. Il had been
planned and announced for December
/. but was abandoned without cNpla-
nation. Moreover. the hour set for
the beginning was late ono half
rast eight. and as there IS no pause
i'm Mr. Harty's work, which was per
formed first, Professor Hall introduced
Rachmaniuow's Prelude. in & sharp
minor, orchcstratcd by Sir Henry
Wood, 10 give late corners a chance 10
get into their seats. Tardy people
there arc bound 10 he, no matter what
time is SGT for tho opening Of musi-
cal entertainment. and Professor
Halls we'll meant plan was not wholly
successful In avoiding disturbance
even last night. Mr. WhitehIll was also
permitted 10 sing a solo between the
choral works. But much was to he
condoned on account OF interrupted
traffic
Hamilton Harry is young irish
musician with progressive ideas IN nus
head, who wrote his cautata for the
Leeds festival Of 1913. Whltman's
poem had made an earlier appeal TO
an American composer, but Mr. Con
verse used II only as inspiration TOT
an orchestral piece. Considering nov
admirably IL is adapted Cor choral
setting it IS a little singular that II
should have waited so long for such
a treatment as Mr. Harry gave It. It's
music does justice to the poetry. WIN
its varied mood pictures and us op-
ylous suggestions for tonsl delineation;
The treatment is direct, clear ana
cumulative Of the Imagination. In poi-
tions. as in the setting Of the stanza
descriptive Of the holy calm Of me
celestial country
follow thee,
BLOW. trumpeter, free and clear
While AT thy liquid prelude, GIau'
serene,
The fretting world. the streets the
noisy hours Of DAY, withdraw:
etc
the music rises TO heights OF great ana .
unusual beauty. When the disembodied
trumpeter Whose instrument is IRE
ouently muted like Mr.. Converse
awakens thoughts IN the poet OF teudal
papeants. jousting knights, singing
r1ipstrels and the tumultuous armies
% crusaders. the music breaks into inc
swing Of pompous polonaise with
thrilling effect.
Sir Edward Cigars csntsta was also
written for one Of the English test-
vaIs What was said of It IN this journal
two wears ago may be repeated. II Is a
biohiv emotionaliZed composition, large
ly unconventional, containing many
striking and beautiful descriptive e.
fects. telling in its sOnOrltles, al tunes .
gripping and poignant IN ITS harmonic
treatment; on the whole a really me
and imposing piece OF music. IL de-
served repetition. -,
Professor Halls chorus numbered
some 200 singers, in which the women
nreponderated. as is generally the case
with choral societies. Its singing. was
not always up 20 the demands Of the .
music in respect of rhythmical crispness
and vitality. but the quality of tone was
admirable and the more delicate nu-
ances were beautifully produced. Inc
audience was encouraging IN point Of
size and character TO the extension
teaching movement under whose 'u-