The sun., 1918-10-21
PARIS ORCHESTRA
BRINGS CHEER HERE
Famous Organization Of the
Conservative Heard ut
the Metropolitan.
wERRENRATH AT BEST
Song Recital at AeOlian Hall
Proves One Of Peculiar
Distinction.

u
circumstances. the list Of concerts de-
handing critical consideration yeeter-
day was reduced to two hut these two
were OF the foremost distinction. Rel
maid Werrenrath. who. to the regret OF
some OF his sincerest admirers, has de-
cided to dabble IN opera, gave n song
recital In Aeoli9n Hall In the after
noon. and In the evening the orchestra
once more in the Metropolitan Opera
House.
The visit of this famous French or
ganisation Inns brought gladness with
u. We have been made acquainted with
a historic aristocracy of music, directed
by a gentleman of skill, taste and en-
thuBiasm. We have heard Cesar
Francix's symphony played by masters
of his style and the gossamers OF Saint
Saens's 'iRouet d'Omphale" spun with
infinite delicacy. We have heard such
doings before now, but we are glad TO
be reminded that while France Is the
home of the best wood winds In the
world she Ia also the repository OF the
last words in the gospel of the classic
violin style.
The second concert served to give fur
ther food for thought. Not only did II
introduce a distinguished French pianist
hitherto unknown here. but II also
served to present the orchestra as the
continiator OF high historical traditions
cherished by the Conservative. The
programme in full was as follows:
"Patrie'' overture. Bizet; fifth sym
phouy, Beethoven; 'L'Apres-midi dun
Faune," Dubussy fourth piano concerto,
Saint Saens. symphonic piece from The
Redemption" Cesar Tranck. and Gar
nival Romatn" overture, Berlioz. The
pianist was NJ. Alfred Cortot.
Recalls the Crafty Teuton.
Listening to the French Orchestrn
playing a Beethoven symphony-per-
haps the Beethoven symphony--the
memory reverted inevitably to the preg-
nRnt comments Of Roman ROLAND on
the famous Strasburg festival OF French
and German music, in which the ever
crafty Teutons permitted CheviIlard to
conduct some fragments OF Franck and
Charpentier. while Strauss and MAILER
revelled IN the glories OF Beethoven.
Wagner and themselves. This was long
before generous France dreamed that
war could again cross her borders from
Germany 30 that Rolland's pungent
structures were caused only by his radi-
cal art views. He said:
They have no discrimination, and
while they applaud Wagner and encore
Brahms they are in their hearts not only
frivolous but sentimental and gross.
The most striking thing about this pub
Tic IN it, cult OF power since Wagner's
death. While listening to the end of
Die Meistersinger felt how the
naughty spirit Of the great march re-
fiected tho spirit of this military nation
Of s,lppkeepers bursting with rude health
| M mt r,,.fA
markahle thing OF all Is that German
artists are gradually losing the power
OF understanding their own splendid
classics and In particular Beethoven"
After mercilessly analvzing Mahler's
direction of the Ninth Symphony, Roll
land continued:
II once severely criticised the neo-
"lassic stiffness OF WeingRrtner. but !
should have appreciated his healthy
equilibrium and his effort TO be exacting
after hearing this neura sthenic reading
Of Beethoven. No. we can no longer
| hear Beethoven and Mozart In Germany
to-day: We can hear only Mahier and
Strauss"
EEottsm of German Music.
With his usual fine penetration Rol-
land pierced The inflated egotism OF the
| sic. Would II be astonishing then for
| US to discover that in truth Beethoven
| has been more faithfully studied and
honestly interpreted In France than in
| Germany since Habeneck made him
known? The present attitude of the
| French mind toward the supreme SYM
phonist In represented IN Vincent din
\ dy's admirable little book. one of the
most sympathetic studies of his art ever
L
reverence OF France for Beethoven should
have formed and maintained the tradi-
tons of the Conservative and for that
reason one looked fesrlessly for a sane
reading and n dignified performance of
the fitth symphony last night.
Such indeed II received. NJ. Messenger
| made no attempt TO astonlsh with an
| original reading. He devoted his atten-
ton TO tempt. phrazing. accent, rhythm,
balance and that interchangeable pursuit
! Of the melody for which Wagner praised
Haeeneck. The performance was ad-
mirabie. and It's exquisite finish In the
| second movement was well contrasted
with the virility OF the first and the
| last.
NJ. Cortot is q welcome newcomer.
He ID q pianist of brilliant technical
skill whose digital facility Is equalled
by the variety and color of his tone. He
played the concerto with warm feeling.
indeed with evident affection, and with
4 q rust appreciation OF it's style He win
be heard in this city again and his art
| win demand further study. The accom-
paniment furnished last evening by NJ
Messenger and the orchestra was note.
worthy for It's accuracy ana discretion.
Triumph for werrenrath.
Mr.. werrenrath's song recital was of
the best. He began by singing the ma
tionAi anthem 80 that one might IN
SANITY decide that It should always be
| sung by barytone Then entering
upon his programme he delivered the
air "Blessed Resurrection Day" With
its predatory recitativs from Bacll's
cantata Watch ye. pray We" with
splendid breadth and nobility Of style and
with eloquent feeling. A group of old
English and Irish airs brought 70 the
surface those lovely veins OF tenderness
and humor which he 80 close together
IN Mr.. Werrenrath's compelling art
Grieg Tin English. as everything else
was) furnished a group OF 1--WE. The
| variety OF atmosphere with which the
I singer surrounded these sincerely feli