New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-04-14


n, of music in New York comes
upon a concert which cannot be
discussed at the length which it de-
serves within the limits allowed
him in the daily edition of news
paper. Important as such con-
cert may seem to him, ardent as he
is to record the impressive news in all
the wealth Of detail which it merits,
he is reminded by the powers that sit
enthroned in the newspaper sanctum
that there is a war going on. More
than that, there is at this moment a
military drive, the greatest battle in
the history of the world, on the out
come of which hangs the hope of our
ever hearing any beautiful music
again in peace of soul. Since this
battle is also of some slight conse-
Cuence to the readers of the journal,
and since the newspaper (the powers
remark) happens to be written for the
benefit of its readers, and not for the
edifcation of its musical reporters
all this being true, or at least a re-
spectacle hypothesis-wi the music
reporter please cut everything in his
review except the first and last lines?
Under these circumstances the burn
ing news of music usually fiickers and
gasps its last. 1t is only rarely that it
flames with enough heat to continue
burning until the following Sunday,
when the powers ordain plenty of
space for everybody-even for the
music reporter
But the concert given by the Schola
Cantorum last Tuesday night under
Kurt Sch;ndler's direction was one of
those which seem to demand ex-
tended discussion. To say this is not
to belittle the many recitals which are
dismissed in few words. For it is
not the excellence of recital that
determines the amount of comment de-
voted to it in newspaper. Indeed,
many Of the best concerts call for no
more than passing mention. The
reviewer is always at loss to know
what TO say about a recital by Pablo
Casals, for instance. Can one say, for
instance, that he played admirably? 1t
has been said hundred times before.
In newspaper language, it is mot
news" If Mr.. Casals, by some in
credible accident, were to play wretch
eddy, that would be "news," and would
merit not a little extended discussion.
But SO long as Mr.. Casals is Mr.. Ca
sails, there is little to be said about
him, save that he played as usual
On the other hand, when an artist
makes point of searching out rare
and significant music, as Mr. SCHNEIDER
invariably does, he takes out lien
on the space of any daily journal
which pretends to discuss the impor-
tant news Of the musical world. He
issues a mandate which cannot be ig-
nored.
The songs Of Tuesdays programme
were largely repeated from previous
concerts of the Schola Cantorum
Those Of the first group were mostly
from that remarkable collection which
Mr.. SCHNEIDER arranged and published
three years ago, including the strangely
lovely ballad of the Volga" mot the
familiar "Boatmen's Song"), and the
weird Ballad of the Kremlin," with
pianoforte obbligato. "Dunya," with
which the group closed, is notable even
among Russian songs for its placid
loneliness. 1t represents the sort of
thing which Mr.. SCHNEIDER and his
chorus can do Supremacy we'll. In all
the intricate voice weaving of the song.
IN the course of which the melody was
many times shuttled back and forth be-
tween the parts and descriptive musical
figures bobbed up everywhere, the ear
could detect no carelessness in the OK
ecutlon, no false proportion among the
voices.
The expressive Slavonic songs for
"omen's voices, composed by Josef
Suk, have been heard before. But in
the following group of Finnish student
songs there appeared two new pieces.
Inc hrst, THE Song Of kullervo," is
the work OF one Toivo kuula. of whom
Mr.. SCHNEIDER says in his programme
note that he is "a man younger than
Slbehus,' and "is thought and spoken
of very highly, and, in fact. comnarod