davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
CALENDAR FOR THE CURRENT WEEK

M popular operate concert
Carrere Hall D. MCormacai Aoo.an hai
Maxine Eotts Theatre
recital bv College Of the City OF Now York /
m Tree organ by A. Baldwin; Hppodrome 73 D.
No. concert by Soua Princess Theatre, ol5 song
by Eleanor Tgner
MONDAY Metropolitan Opera German opera "Ihe Iap
Princess Theatre lecture and .o'g recital "
Hcmer.
TUESDAY eoneert Of chamber music b. tho
Aeian Hail. recital by Naude ray!
RCarou p. recital by Coinne Parser; WALDORF
of the S. Cecilia clubs Maine hlou
Theatre recital BE- iycte Guoert; Princess Theatre
n Naresa and George copoand Assemble
Hall s:f5 p. ul. b. Tonkuus!er Society.
House French opera Gar
men, Auditorium Columbia University 6l5 r iec
ureal Wagner The Nbeune, by Nr and Mr. Kenny
City College. e p. n. recital by samuel A. Baldwin
TIT RsDN Carnegie By tie Philharmonic So
ccty: recital by Marcea Craft; Netropo
tan opera p German Die Mastersneer
Of lecture ami free organ ree'
by Warren
FRIDAY Metropolitan Opera House, German Der Rn
kavalr" Carnegie Hall. $3.50 concert By tic Phhsrmon"
Society Aeoan p recital b Clara G-brlo"sch
sis H. song by Emmy Destnn; Maue Eo Theatre
sonrr recital by Yvottc Guibert
SAT; RDAY-Carnegc ranoore recital by PaiereNs
Society; Netropoi
Italian Madame SansGee r.,
oera la abul" Acoan Hall ~ coz
cert Pablo Casais ':l5 recital oy fa1
ti0lonce.lsL
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

But the antiquarian side OF the subject not the only sac
tia, is interesting How much the people OF Shakespeare uc
felt and acted like those Of car be learned O t
musical au,ions In play, Indeed Is more Prohabc 20 oo
appreciation Of the poet study these illusions IN ordeT TO r
rom them how he and hi, people are 70 me ne :? INC
, n+ than 70 build I'd a conception OF the musical practice
Of hi. time Shakespeare Tor the people OF hs "a! al
the people-aud bis free and constant use OF nusaI ytI
,5 - the lie 81 musical culture the reigns OF Henry H.
Elizabeth and lanes which frequently luminous Mr. Mayor
has pointed out that the thry-seven plays thirty Two t
there are more than three hundred stage directions Wnlc
musical occurring in hirtyx OF the dramas II Is
that the Greater number Of these references are IN the ooede'
and the majority Of them bubbles and p's on in9iCa
These verbal plays help exemPfy the true purpose OF Gomez
which, i - M a the foibe and fashions OF people or an age
-, @cbs.;, ,srers With smile The glib ofhand manne
which technical terms arc used by the poet IS IN ltseii PROF.
the high degree OF musical culture posseSSed Oy W
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

Accepted literally tnis letter would
require yoiumin0us answer. i ls %
be assumed that the songs IN shake
spesres plays aye meant A service
able collection Of those only mentioned
In the plays tests and those actually
sung is that published by the Oliver
Ditson Company, Boston Charles ii.
Ditson { Co. >cs Nora). it is edited
bv Charles Vincent. and contain mod
crn settings a. we'll as music contem-
porarv with the plays The songs are
discussed .a the books mentioned In
the article on Shasespearian music pub
H. Z. X.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
Weeks Programme
at Metropolitan.

9TH. Tanning Of the Shrew' Will have
tie second performance az me Metro
polit4u Opera House tomorrow even
ING the opening night OF me las,
week but one OF the opera. n' cast
,.il be tho same a. last Nclnes day s.,
including Mines. ODER. Rsppold anu
Waftfeli and Messrs Whitchii. Goritz'
Sombach. Lcouhardt. Ray sdaei Keiss
and Bloch. Mr.. Bodanzty VIII con-
AID viii be given a. a spec'a!
matinee on Friday. "itn Mines. Rap
mold. Homer and -parkas ana hes .rS-
Caruso. De LIca. Rossi. scott a"d Al
di.io Miss Call will lead tho corps
dc ballet. Mr. Bnvagnoli viii conduct.
The other operas Of the wees niii De
.Carmcn.7 ON "wednesday evening
.,,.b Imc4 Farrar. Mason. bcH-ieu
aud Garrisol and Ncssrs. Cru So. ANA
to rothicr. Bada and lombard H'--
CALI sill dane. Mir. foiacco VIII con-
@6ie Meis.er,inscr" on THURSDAY
evening. with Mines. Csdskl ana Malt
felJ and Nessrs. Jrlus, Wei Goriiz'
Ram. Refs. Icouhsrit, Audis no..
bloch. Tegani. Ruy dael. Schicgel ana
Raver. Mr.. Bodanzky viii conduct
"D.r ssyal'er.' or , r. Jay
evening. with Mines. hur.. ohoi, Ma
so, Curtis. hatfield. COS and Van
MI and Nessrs. Gor.tz. Wen. AZ
I5u.e. Rciss. Ruysdael. SchleseL Biocn
and Baycr. Nr. Rodansky viii conduct.
"Iafauc San Gene, - the Satur-
5.r r,atincc. vlth Nmes. Fsrtar.
Sns,kcs. Brsslau, fouia. Curtis ana
Foou-r and Nessrs. Martnclh, Amato'
Aft1ousc. De Scgurols, Iegsni. bada'
Toouhardt. Resch glian. Begue ana
Pioch Mr. Polacco will conduct
"a Sonuambula,' followed b. the
Tartar Ballet from "Princc Igor VIII
bc lie popular price performance on
SATURDAY. night. The opera viii be sung
bv Nmcs. Barric1tos, Sparkes and Pc
rini and Hc5srs. Damaceo. Didu'. koss'
end Audisio. Miss Cell and 3ir Son
Gglio will dance IA the ballet hr'
Polacco aili conduct.
AZ tonight concert. the last out
one % tho season. N.schs tlman. vio-
Tnist. wiu PLAY Mondel,sohn's +
minor Concerto, Gluck's "Nel0die' and
Po,,ariri's ~ Palpiti" Mmo. Erma
Zorsta and Johannes Sembach will
siny the duet from "Lohongrlu.. Nine.
Zarskn will sing an aria from la Clio
conda." Nr Sembach will sing several
-orgs The orchestra, under the dircc-
ton Of Richard Hggeman, vii play The
Vcrspiei from Die Neistersinger Al
tiIr Hochman's "IntermezLo and r. I.
Peroni's American MaTeA-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
Shakespearian Music
for the Tercentenary
Some Explanatory Notes the Musical Allusions in The
Tanning of the Shrew Catches Sung by
Comedy Characters
BY II. E. KREHBIEL.

xrEN New York has its celebration OF Shake
"a speares death music will necessarily play significant
W part in IT, " hat the music is 10 be has been d
oed beyond intnation that OF be specially
cosed for the occasion by local musician. II would
- he desirable that far possible music which created
povcd The pageant and in connection with performances
en the celebration mind 1t would help greatly
precation the musical culture England period which
he poet helped make glorious and II would be diff
M OF accomplishment Il the golden age unaccompaned
local music the kind largely cultivated by the Musical
: well as religious has been preserved Examples of the
n the dances which sometimes enlvened the plays al
ed 10 them be recovered from Arbeaus Orcheog7aph
e as well their OF execution Some OF the songs
M av introduced referred 10 have down and their
harm remains unarnished Specimens OF the instruments which
were by the people OF the time exist and
them might be called Study OF
al these things has been made easy for the curious by Chappe
Popular Music Of tie Olden Time Edward W. NaylOr',
shakespeare and Music lone OF the Temple Shakespeare
nails published couple Of decades ago. and go further
ous ElSons shakespeare Music published in Boston
fifteen years ago
Our concergv have been sngulary negectfu OF the
niy which the tercentenary offered them Only Mr. Walter
Darrosh recognized the occasion OF his Symphony Con
m FOR Young People and his contribution valuable 1t
lad no ANTIQUARIAN interest and illustrative only small
actor in the art OF to-day. The field from which conductor
b have drawn TO exhibit influence OF Shakespeare upon
music enormous The plays have inspired composers
than the writings OF all other poets combined AS influence
he oups even Goethe in Germany In yearbook OF the Ger
man Shakespeare Society. published decade ago Max
Fredaendcr gave list OF in which tngish German
French Italian Russian, Polish Czecis Hungarian Danish
swedish Dutch and Spanish composers figured
TWO CATCHES FROM SHAKESPEARES COMEDIES.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

--|s4N-anNH va tN." &C
A. has beer minated, Their. are n@'
troublesome questions concerning the
rls!esl practice in Shasespeare's tii"e:
i vas the period OF the perfection o.
veal music q the polyphonle senoO'
ard Of the breaking away from scnolas-
,ie Journalism IN behalf Of dramatic e1-
preston exenplfcd ~ the conteip
porsneogs Invention % the opera. rom
scientific point % riew II was tnc
most brilliant period IN Enghisn nv
AGA history; but Shakespeare mas pIe.
ssryeo 10 tribute % the polite art OF
he dzy comparable with that which he
Paid 20 The popular art By MS intIo,
esction q silusiou. % the songs and
ballads o. his time in MS plays, or tne
soIgs Themselves. The subject - much
20 large - Be discussed IN al OF Us
clements here, but the manner m when
re study may BE- conducted can DC
ii1gtrsted b. an inquiry into INC mu-
neal allgs.0us ir The Tanning o. the
sare7,' thai comedy being one JUST
ioT Occupying public attention by rea
20 o. nc operate version current .
ne Metropolitan Opera House. Not 81
ts musical references ia the Original
Pay have been preserved In the oper",
saa cone chang es have been made OF
lseess.ty ID tae scene Of the music
.a1on, which q very fruitful IN matter
70; ftgdy, but with nc book OF tns
lsnffy .n hand aid iLe cpcrz Ia minH
isN inierflting glimpses into the
~-'le 81 SHAKE Deare's time can De hso'
here are three stage direction, IN
Induction % The Tanning OF tne
.'fs~' which have been discarded ~
t opera. "llorns ginded" announce
~ entrance ~ fhe lord, Hho snpsss
.nsff ~ having ne play acted fof
.' Dsniloered benefit Of Christopher
% ne tinker. tie players are az
'.hfe1 b. fne f1lnding % z trumpes
~ E Dofns ~ 100 his drpnNe"
~ s11 there .r fourth" Wnen
iinler having inyiteo Madam
lt ~ - b. a.f eide and let NC
.'rl1 Side" fefre. doyr 20 sc. the
~. lfe tor arc, NJ course. hunt
- norm. fnf simple tube bent ~ a
~, - ~ Ger fre shoUidcy, yhich ~
ih lse End which served orches-
~ fDMposerl lD1a ~ me time ~ we
hliDf Of valves. TO "vlad" n norm
- p,ttcai flp-r1a.or purely b. 70
- ~ p4t mind into ~ fbs
.'ff"n accompanying me iors
-'ifN hunting caii, 10 fDDDi i@n
l" me callf sf In zee. HnaSF
- ppet r>rDf 40 fne plSyer 'oiT
20 ffM nr1c4fced by 81 trDm
'@'l 4Hl Drrn their performance
-fD4ffh' w. sayiOr cnumsr'
~. lymDels, a trDm1e, SOUNDS.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

rrrrone, sounded within. Drums and
.r,,rnnots Flourish Of trumpets (siI
- One 81 other Of the above oc-
80 some ffty-one times in twenty
tro nlavs. either alone or IN connec-
tinn with Sonnet, discharge OF cannon
etc. On eighteen of these occasions u
srropnces the entrance or presence OF
Ling or ROYAL parsonage; thlrlee"
.iues il figures az part OF INC Pro
rne6inos in duels, ter times slgniAca
,be entrance or exit OF principal per
cons. not royal, great generals et0.'
.bree times precedes pubic proc
st@r Nth ROYAL persons IN Il; tVlce ~
/. cornected with the advent OF r0yA..
L.,,i6s and once Nth the srriyai OF
,isve-s'" A flourish IS fanfare
In the second scene Of Act VIC nee,
Nth the first play upon tecnhlC,N
,erm Gruuio refuses 70 knock a. In'
,,.e 90 Hortensio's house, .eiticr ms
.sti,o or affecting 90 mistake ms mo-
,er'. command. Petruchio threatens
him:
Faith. .irrah, an you'll no. knock III
III Try how you can sol-fo and sing H.
lie lOyinos him on the ear
Tn. nun Is obvious. To sofia meant
the zane thing in Shakespeare ~
that IL does In ours, that 49, 70 sIns
,oslodv BIZ the names o. The in ,si,'
%, students study sofia, or soiiegs,o ~
when they practise vocal reao!hg
rnmnd,ng the names OF the notes IN
,,.sd ~ the words Of song. IN Ine
,oy@J, lesson scene, Act III, scene l.
Hortensio makes profession Q. n, G.r
70 Blanca while pretending 70 teAch ne'
Ire names of the nos1s IN tht gam.
tbAt II. the scale 81 II used 70 pe suns
"Camut (Gsmms-ut am' 'o'
ARE, 10 plead Horrnsio.s Pass'oIs'
y oi Bisncs. taks him for my ,ol1,
r N1,,f. ina. loves with all ahecIloh .
U-.oL-lc. one ciif 0clct t"o ho'e'
have J.. go,
E.Io.,oL show pity or de.
Camms.ut. which vas conuac.su =
INTO gamut, VAS the lowest Hote y. ao
Las, star Of a scale reaching over thtee
nr,sves. The ayllabies, 70, MI -, -
,,bicb stiil remain 10 use 90 ~ ~. *
go, the place Of ~, Verc coinDineu -
,,1lcs,c the relationship Of the noteS ~,
d'g,rent beys. The entire syttesmnn ~
'ot,oizs.iOn having gone mo nl'"f.
lexeept tbs rsIe hh!el a'i'''
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
Letters to the
Music Editor

Among o., hundreds Of letters ask
ing FOR information received or TIC
Tribune musica. editor tacro are oc-
cas,oiallv some or more trau indivd-
ual interest These 10 b. not only "a
pleasure 20 answer. but also 70 give
wider currency than chat Of private
correspondence b. printing letter and
answer In The Tribune. Inc following
are q he point:
The writer has read your Chapters
Of Opera' with great interest and hopes
YOU viii pardon him troubling you with
an inquiry. Can you inform me who
was in the cast with Mlne. Nordlca
when she made her American debut a.
the Academy Of Music as Marguerite m
Faust Yours respectfully,
L. u. BROCKETT.
"Krusas City. Mo, Feb. .. 1876
Tie date Of the performance was No
vcmber II. 1873. and Nine. Nordlea's
associates we're Miss Josephine Yorke
fSiebel. Signor Nicini lraustl. Signor
Galass Valentino, and SIgnor Cheru-
bini .ieph 7tophe.esl.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

tive number called "The Musical
Critics Dream by Dix. The synopsis
Of th.. novelty reads as follows: "A
musical critic severely criticised an
eminent orgarist for introducing into
an ofortory well known popular mel
ody. and declared that such music vas
igno5lo That night the critic had o
dream. % which hc -aw a group Of the
old masters. who condemned bis dcc.a-
ration and said that 90 music could be
igno5le II uob.y treated. To prove
their statement. each ono seated nm
self A. thc organ and gave one oI has
best known compositions, introducing
the condemned popular melody - me
leading theme. lu this niece the mel-
ody Of Annie Rooncy' IS treated in he
Stale OF Neudclssohl. Mozart. Chopin.
Beethoven, Ross.ni. Haydn and Richard
WAGNER.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19


- 1880. Is. .-..-s---.sa.-1
tonic sol.fa), il is not necessary 70 az
tempt 10 clucidste Hortensio's speech.
Mr.. Naylor has attempted an extra
musical explanation which is ingenious,
but certainly more fantastical than
likely But II is worth quoting: The
lines may be taken separately as fan
tastic commentaries on the syllables
themselves as we'll as having their III
terror meaning for Blanca. For in
stance, Gam-ut. the forrest note then
recognized in the scale. is called the
ground Of al accord Are, suppose,
the lovers sigh 80 plead his passion
B-mi may be twisted into 'be mine by
the light of the remaining words n the
line: while 'D-sol-re, one cliff. two
notes have l.. obviously refers 20 HOr-
tensio's disguise. The elf is what h.
now called 81 'clef' or key because it,
position on the staff gave the key 20 tho
position Of the semitoucs and tones or
the various lines and spaces. The Sis
notes here mentioned are the y. \. b.
c, D. iu the bass staff. They could
only be written a. they are vet In one
clef namely, the + clef. The express
zion. TWO notes have L., a. applied 20
the .. means that 10 the key Of & u
is called SOL while IN the key Of 9 u
would have the name Re; Just a hor-
tcnsiO is HorteusiO and at the same
time masqucradcs as singing master
r. the ouc~a the Hbrettiet has sub
stituted The modern letters for the old
terms and the COMPOSER has written a
song for Uorteusio. each line Of which
begins with the tone named. ia the
Rev. Mr.. Troutbcck's translation the
song runs A. follows:
&C. Cembaloui. the name which ! bear,
ID. does Hortensio cover:
=. ere I leave thee my suit wilt thou
hear?
r.. fain would ? BE- thy lover.
g.. give mo hone : may cali thee my
own.
an .-. ,r.,rr -urcl. moves thee.
T. III 90. I,-.-.. ., .orro,. alone
S.,.re-... ".,-. r,.-s .-eC'''
,b1 c.., ....b ofa,. tbo second
,r, a.. .'ronl como u Act
III in -t. o5,re. g rr,cr the ri,a.
lovers disguised a. peJsrosue- besicec
Blanca " ita their rtutrr 'atlOns, ana 'N
the nIsl scene of sct ii ID the play, the
third scene ir Act N of the opera. .I
which Hortcnsio appears with the Lutte
which Katherine had broken over MS
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
Uoytcpsio: 'Tis now in tune.
Al hoe tho hecn

Uoyfensio: The bass is right; TVS the
haze knave that Jars.
All this Is easy q understanding eF-
cept Lucentio's ADVICE to hoItsn'.
70 "spit IA tho hole" OF the lutte. botn
Mr. Baylor AID Mr.. bison you'd nav
,'e believe that the sOuud-hOlc Was
MEANT an unpleasant suggestion. j.
rrCbt 20 have been obvious 20 the com
,,c,'tators that Lucentio meant that the
,uniug peg % the treble string hnFini
siinoed the Jealous Hortensio should
,,nisten the hole ia which the per
,noyed 20 that the peg would rcn2ir
fast.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

Tomorrow night the Aborn Grand
oDera Company, under the direction OF
Milton and Sargent Aborn. will begin
; four weeks engagement az the Brook
Ivn Acsdemv OF Music in q popular
repertory OF operas. While these pro-
auctions have been welcomed each
spring season in Brooklyn, there is in
tercst attached in Nc number Of new
artists who will be heard for the tirst
time in Brooklyn, as we'll az with the
Aborn organization. The opening opera
will be Verdi's Aida with new scenic
effects and accessories. Henry Weldon
has been especially engaged for Ram
us. Fausto Castellani will be new
Rhadames 20 BrooAynites. He is d.
rect from la Scala, and has sung in
Rome, Naples and other Latin coun-
tries. Lillian Eubank, who will be the
Amneris, is another artist who will be
making premiere to Brooklyn. A
new conductor is Ignacio de Castillo.
He comes from the Royal Opera In
Madrid and has directed grand opera In
Barcelona. The chorus has been
picked from the Chicago and Century
Grand Opera companies There will
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

The oratorio Of ELI" b. Sir Michael
Costa, composed for the Birmingham
Festival. England. and a work rarely
heard in TINS country, will be sung IN
der The direction 81 Or. William C..
Carl this evening in the First Presby-
terian Church. Fifth Avenue and
Twelfth street. The soioists are Mar
Zaiet Harrison. soprano; Claire Spen-
ccr contfalto: Roy Williams Steele,
tenor. and Henry O.. Miller. bass. The
oratorio w'i be- preceded by an organ
recital By Dr. Carl, beginning at 7:4O
o'clock
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

Nevada Van der Veer Miller. con
tralto: Celine Ncrkerk, soprano; Fred
erick Martin. basso, and Christian
Kriens. violin. with Eleanor Foster.
John ". rockingham. and Ward
STEPHENS at tho piano. will give pro
gramme or compositions b. Christian
Kriens and Ward Stephens for the mu-
.;c committee Of the MscDo"eii CiuD
on Monday evening
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

"The cleo Club. Of this city, has re.
quested ne 20 ash sou What writings OF
Shakespeare have bcra set 20 music.
perticularlv vocal? Very sincerely
your. CORA y WALTON.
"NillismsporL Penn. tet. %. lsia-"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
Concert Notes.

Yyettc Guilbert will give third
.,r.c. Of concerts at the Maxine Elliott
Theatre beginning this evening, con
,inuing or Tuesday aud Friday NATL
noes. and finishing her New lorh sea
son on sunday evening, March %.
Nine. Guilbert then begins tour which
which will take her across the CONT
nent. Many Of the songs which Nine.
Guilbert will give have not been heard
here before, while the favorites Of her
established reper;ory will be included.
several well known artists, including
George Barrere, Will assist.
Sousa's contribution 20 the All-Irish
music programme az the Hlppodrome
on Sunday n ght, which will serve 70
introduce John OMaliey to New York
a, 4 concert singer. Will bs Q dsecrsI-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

be but three performances Of Aida"
With no pcrf0r~gace ON Wednesday
night, owing 20 q previous booking at
the Academy. The last half % the
week I'll Trovatorc" will BE- given four
performances. and on Friday afternoon
the first cXtrs performance o. "haen-
sci und Cretel' viii be given, with
Gladys Chandler and Mary Carson.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
The Weeks Music
Programmes in Detail

MaIk ..... .................... rasti
rue 1Nien .......-......., .Gorns Ttorass
Slh SoAS .tss..s...t--st.-.. Del Neso
AIllg lie Fyllsiss ............... Blrielsh
Mss Parker
! re ArateSgge ACKNOWLEDGEMENTS. Deoussy
ltua cen Narafeu .................. Lonso
Nj De Se.sno.
Three Sings m character
10 Lise Love All NM. Nins,ts Nincn.
Ruhcrs
De Suoi Par.-rt d.s pesno.seuss i.'Hginiss
Mss psrke-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

Next Sunday afternoon, the last OF
this years sunday series, has been re
served for the Philharmonic Society's
annual request programme. IL will be
devoted 20 a Beethoyen-W sgnerLiszt
programme.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

Though the concert season IS draw
ing 10 8 close IL Is By 20 means yet
ended. The New York and Boston
symphonies have given -heir las. con
certs. but the Philharmonic is still
with Us and on Thursday night and
Friday afternoon Sir. S.ransky pre-
sents an all-Wagrer programme. or
singers the wees brings us John Nc
Cormack. Eleanor T;gner, Paul Keimers.
Nina Naresa. Corinne Parker. Mar
celia Craft. Emmy Destlnn and Clara
Clemens; OF pisnists; ignace Jan
Paderewski. Harold Bauer and OssiP
GabriloUItsch. Then We have the ever
welcome Kne.sels. and Pablo Casals.
greatest o. 'celiis,s. and Pau.o Grippe.
In short the week 20 come brings
music and enough for all palates!
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
MONDAY.

Lecture recital by Paul Rcimers,
tenor, az the Princess Theatre. p NJ:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

Thprc r. o. glib Glluslon 70 eaten
familiar " the people Of Shakespeare 10
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
Hold thy peas. thoU kaAy., Th1s knaYs'

~ xoifth Night" Ac; Il, Scene ).
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

Charlotte Lund, soprano, will give q
song recital at Aeolian Hall on Tues
day evening, March -. Her programme
contains, among other things. group
OF three Norwegian numbers and songs
by Florent Schmitt, Quilter, Vidal,
Mary Helen Brown, Ethelbert Nevin,
Florence Parr Gere and Mabel Wood
Hill.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

On Thursday afternoon, March 80,
Boris Hamburg, the Russian 'cellis,,
vii give a recital a. Aeolisn Hall. On
this occasion Mr.. Hamburg will play
four OF his own compositions pref
ude In G. minor, Mszurka, Nocturnette
and Dams Russo "Cossque."
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
FRIDAY

Song recital by Miss Emmy Destinn
~ AnnIinn HILL N.fn ID n
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
WEDNESDAY.
THURSDAY

Concer. b. TIE Philharmonic 0rches-
IRA az Carnegie Hall. s:l5 p. M:
AII-WAGNEE PROGRAMME
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

Lcginska's only piano recital Of this
season will take place al Carnegie Han
Friday evening, March 81. In com
memoration Of the death OF Iheoaoie
Leschetizky. whose pupil sac VS..
Nine. Leginska will Play MS
Souvenirs DItslic," Op. 81
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

Harold Bauer will give sn Ail-Cnopin
recital. in Aeolisn Hall. Sunday si'er
noon. April Q.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19
Song recital by Nine. Clara Clemens,
with Oss,p Gabrilo2itsch as sccompa-
mist, in Acolian Hall. 3 .. m:


harold Bauer and Pablo Cssals, In
their last Joint recital OF the season, ar
Aeo.'su Hall. 3 .. m:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-19

Jset, boy, ho boy, r.vs; s II. eats il til, vel,