New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-11-24
Sings operate Arias at
Subscription Concert of
Symphony Society
BRAZILIAN PIANIST
GIVES A RECITAL
Nine. Matzenauer's Voice
Warns Large Audience
at Carnegie Hall
By II. Z. KREHBIEL

The first Thursday afternoon sub
scription concert Of the Symphony So
ciety was given in Carnegie Hall yes
terday afternoon. Whether it dis
closed any definite artistic purpose on
the part of Mr.. Walter Damrosch, the
conductor, cannot we'll be said.
An extremely digniiied beginning in
both choice of music and performance
was made with Brahms's first symphony,
after which the audience heard Alma
Gluck sing two operate arias very
much alike in their unmeaning employ
ment of the ford style and differing
little in musical value except as the
former mixed Characteristic national
idiom with its phrases, while the latter
did not.
The airs were respectively from
Glinka's Russian and Ludmilda," q
Russian opera. and Mr.. Damrosch's
"Cyrano de Bergerac," an English
opera on a French subject, the words Of
which were scarcely more ineligible
than those of Glinka's work, which were
sung by Miss Gluck Cor Nine. Zim-
balist, If sticklers prefer it so) in Rus
sian.
Both airs were sung in good style
and served 70 disclose the unique treas
ure which the public of to-day are
privileged to enjoy in the quality OF the
singers voice.
A march from Rimsky-Korsakow's
"Coq dor" originally announced, was
omitted, and the concert, which was
handsomely attended, came 10 an end
with some of Ravel's music TO "Daphnls
and Chloe" heard at earlier concerts
of the Symphony Society. Separating
the vocal numbers was an orchestral
intermezzo from Mr.. Damrosch's
opera.
On Wednesday afternoon Miss
Guiomar Noyaes, the youthful BRA
lillian pianist who challenged attention
at her first appearance IN New YORK
last season, gave a recital IN Aeolian
Hall. Her playing promptly dispelled
the feeling of curiosity as to the
soundness of her merits, and estab-
lished her as an artist hereafter TO be
reckoned with amongst those who
have a higher message to deliver than
that which they have carried away
from their lesson room.
Madam Margaret Matzenauer poured
out her glorious voice at song re-
cital in Carnegie Hall Wednesday az
ternoon; poured it out somewhat TOO
lavishly at times to suit the best IN
terest of art, but not too much so to
warm the hearts Of the many VINO
have divorced the intellectual faculties
from the emotions in all manifesto
tions connected with music and do not
know to what extent pure beauty and
taste have a place in the art. And so
it happened that some of the least ad-
mirable things in an entertainment
which contained much that was admir-
able won the loudest applause.
Nine. Matzenauer's programme was
thoroughly unconventional, and con-
tanned much that invited curiosity and
rewarded il. Few OF its numbers had
ever had a place in recital schemes
heretofore in New York. IL began with
four Italian songs by Sgambati; then
there followed four unfamiliar German
songs by Richard Strauss, Erich Wolf,
Arthur Lambert Cone who evidently
thought that Justice had not yet been
done to "Caecelie") and Joseph Marx.
Four French songs. Beau Soir" and
ala Chevelure" by Debussy. Mutt
d. etc" by Edouard Tremisot and La
Dentilliere de Bayeux" by Felix Fou-
drain, made up the third group, and to
end with came songs in English by
Frank La Forge ("Before the Crucifix'
and when Your Dear Hands," both
regiven on demand) and Cyril SCOTS
Lullaby" and "Blackbirds' Song"
There was much over-emphasis Of
the sentiments Of all these songs and
much too little lightness and grace in
the French songs in especial; but the
big-hearted sincerity of the singer and
her plenteous beauty OF tone delighted
her hearers, who were numerous
enough almost to fill the hall.