New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-11-09
A NATURE SINGER AND
AN UNRIPE VI0LINIST
Contrasting Recitals in Aeolian
Hall Yesterday.

A ripe artist sang songs in Aeolian
Hall yesterday afternoon. and a bud
ding violinist played music on her in
strument in the same room in the even
ing. The ripe artist was Mr.. Emilio de
Gogorza, who provided an entertain
ment for the delectation of the dis
eliminating and experienced; the
player, who has the making of an artist
in her but made appeal chiefly to an
audience of good wishers, was Miss
Henrietta Bach. Mr.. de Gogorza has
been with us many years. during which
he has exercised wise discretion in
that he has never cheapened his gifts
by a too profuse offering OF them and
never attempted proclamation with
out having something to say. Few OF
our men singers sing so well from
purely technical point of view as he;
none Of them is more interesting when
he makes his essay. His programme
Yesterday, far from uniformly excel
lent so far as its contents were con-
cerned. was provocative Of interest;
and even its least valuable elements
were made to challenge serious atten-
ton by the manner in which they were
presented J. Alden Carpenters
"The Cock Shall Crow" Mr.. Rogers's
"Wind Song" Sidney Horner's The
Fiddler OF Dooney" and Cyril SCOTS
"Why So Pale and Wan :" for instance.
His singing of them also raised three
songs by Enrique Granados into a s'g-
nificance which an ordinary perform
ance would never have won Tor them.
The Spanish composer has been DIS
covered" (for advertising purposes
only this season, though his 1rst opera
was performed with success whlch
attracted attention in Madrid as long
ago "a 1898. a portion of second was
produced in Barcelona in 1908 and
third had representation in the
same city in 1911. "Goyesca." his
fourth opera, is on the Metropolitan
list Tor the coming season, wherefore
he is industriously kept IN the public
eye. To judge by the three songs sung
YESTERDAY. de Granados Is winner
whose product needs no bush. They are
far from the kind of music which Or.
Mcleod described as "a not night dls-
turbed by a guitar" They are just as
far from music of the modern french
! interpreter Of musical Spain whose at
tempts 70 evoke atmosphere" and re-
produce local color have stifed spanish
! melody and left Spanish rhythm scarce
Is distinguishable. And what IS span.
/ ish music without melody and rnyIhm
1 Granados sacrifices no musical elem ehI
native 10 his people to the sentlmeh.
OF the poetry which he attempts 10 ilit
to a higher power, and therefore MS
songs are as admirable as they are de-
/ lightful.
,ings of lines by Tagore made by Mr..
Carpenter, could have been better sung
than they were by Mr.. de Gogorza.
They are specimens of high art, and
high art was employed in their inter
pretation, especially eloquent diction,
distinct enunciation. appealing timbre
(meaning emotional quality OF tone)
and appreciation OF the melodic line.
And these were the virtues, virtues OF
great distinction, which marked all OF
Mr.. de Gogorza's singing.
IL Miss Bach were not young Wom-
an of large artistic ideals she would
not have attempted TO play such com
positions as made up the bulk Of her
programme concerto in l..
the adagio and fugue from Bach's suite
in G m.no and the concerto in by
Vieuxtemps; II she had not had an ex-
cellent training she would not have put
so good an account to her credit in
PLAYING them as she did. But it is to
Be feared that she has put aside a
masters supervision much too early.
She is not yet sufficiently grounded in
techniqus or taste or knowledge 10
venture deeply into thS realms Of the
classics. II. (. K