New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-28
49, - 'Sssv''sASs-
MISS BEMpEL AND NINE OBET
N" DER ROSENkANAllER

~ DER R.OSENkNNhL'EN'
symphony. Each movement has its own
themes. but q sort of unity is attempted
by the recurrence of some OF these,
more or less modified but always recog-
nizable, in the various movements. so,
for instance. the theme of the finale is
first announced in the slow movement,
whore il breaks in twice upon the ten
der mood by dramatic appeal from the
horns. In the ScherZo, again, the main
theme of the first movement suddenly
energies, in a subdued and altered form.
There is no programmatlc pretence 10
this symphony, to which, however,
Hamlet's "to be or not TO be- says ths
composer, might serve as a motto.
The cello concerto (Op. 80 will have
its first performance and will serve Mr..
Willem Willeke, the popular 'celllst OF
the Kneisel Quartet, in what also is his
debut with orchestra in New York. 1t
is in one movement, with three main
themes and four sections, between which
the motive heard at the outset serves
as a connecting link.
The second pianOforte concerto a
fat major, Op. 32) was written at the
suggestion OF Mr.. Paderewski, who has
recently included it in his repertoire
The first performance-with the com
poser at the pianoforte took place in
the twelfth subscription concert of the
London Symphony Orchestra (June.
1919, at Queens Hall, Mr.. Arthur Nj
kisch being the conductor. The title OF
Prologue, Scherzo and. Variations" UNI
der which the work appeared indicates
that a radical departure has been made
from the usual pattern of the concerto.
Some of the variations are written Tor
the orchestra alone. Here, again, the
themes are several, but interviewer in
the various sections, which are played
without interruption.
The closing of Mile. Pavlowa's Salson
Ballet Russo, at the Century Opera
House, will be followed by the fourth
and final concert of the Russian SYM
phony Society of New York tonight
Conductor Modest Altschuler has ar
ranged an attractive programme for
this farewell appearance, including
selections from the works of Tschal-
kowsky, Rubinstein, Sibelius, Toch.
Wieniawski, Dyorak, LiadOw, Glazou-
rolf, Rimsky-K and other com
posers. Nine. Rachel Frease-Green
will make her first concert appearance
in New York, singing the soprano ARIA
from Eugene Onegin." Another soloilst
will be Frederik Fradkin. violinist, the
cOncertmeister of the Russian Sym
phony Orchestra.
Ernest Schelling, the pianist, Will
make his only American appearance OF
/ the season as special SololSt at con-
/ cert to be given by the Symphony Club
! of New York, for the benefit of the
! Polish Relief Committee, in Aeolian
7 4. ftar r
3. On that occasion Mr.. Schelling Will
MAY Chopin's Concerto in + Minor and
! Paderewski's Polish Fantasy, both with
orchestra accompaniment. Schelling,
who has not been heard in America in
some years, was booked for trans
continental tour this season. The tour
has been postponed until next year,
however, owing TO belated arrival
from the war zone.
On Saturday afternoon Julia Culp,
the Dutch mezlo-soprano, will give her
! third New York recital in Aeolan Hall.
Nine. Culp will open her programme
with folksongs by Brahms. Her second
group will consist of the "Frauenliebe
und Leben" song cycle of Schumann,
and her last group will be made up OF
songs by Brahms.
Alice Sovereign, an American con
tralto. will be heard in song recital
in Aeolian Hall on Thursday afternoon,
March 4. Nine. Sovereign's programme
consists of the following songs: "Cre-
alton Hymn" "Vom Tode," Beethoven;
"Willst du dein Herz?" Bach; "Mer-
maids Song" Haydn; "Sylvelin," Sind
ing; Long Ago" Homer; "Fruhlings-
CLAUDE" Schubert; "Seit ich ihn
gesehen," "Fruhlingsnacht," Schumann;
"Botschaft," Brahms; Am Bach,
Lied des Glucklichen," Metzl; "Ah Sc
tn dormi" Vaceai; "C'est mon Ami
Marie Antoinette; "But Lately in
Dance" Arensky; "Lilacs," Floods OF
Spring" Rachmaninof
Clarence Dickinson's last recital in
the series of Historical Lecture Reel
tails at Union Theological Seminary on
Tuesday afternoon has for its subject
"The Development of Sacred Choral
Music" II will be illustrated with eX-
amples showing the various steps OF
deyelopmont. from the Gregorian
Chant. Josquin de Pres, Palestriha and
Schuetz through the great writers OF
oratorio. to such present day composers
as Hugo Wolf, Elgsr, Rachmaninof
sung by the full choir of the Brick
Church, with soIolstS, lnez DaIpoui
Soprano; Rose Bryant, contralto;
Charles Harrison, tenor, and Frank
Croxton, bass. The programme is as
follows:
o...ox,,, Chant ........ Tonus Peresrtnui
Psalm civ In eIitu Israel.
Az, ysrfn three part ChoTusl go. ,..,,
NV Josquln de Pres Flemish it'o-l5?il
Giovanni Pierluigi da Palestrins italian. 1876 81
! tFor double chorus
| 20 SayisIr Of the World" ..-...-.-
! Giovanni Pierluir ds Palsstrtn'
I Heinrich SchuetE German. l6S3-loID
/ (Moiet for double chorus .
p'''' ~ Heinrich Schuetl
soy,,no aria. Il viii follow Thee. " and Choras
I Johann Sebastian Bach German ltso- 1857
from the Passion according % 81 JohhI
Chorus Let the celestial concerts -. .,
| Ceorse r. Hange German English. ltsa lIoSl
iFrom the OratoTio ''SSnsoii.'l
! Due, for soprsno and alto. Zion spreadeh
O'' " PenI ii. Parholdy German. 1909 -'El
with chorus from Elijah.
o,v,n Fantasia" ~ Theodore Bubeck tKussiml
PART ii lModsTn).
| ~. uUt "a, Nom. ........ Hugo VOL German