New-York tribune., 1919-03-03
Music
Patriotic Poems With Music
Are Given at a Philharmonic
Concert
By II. E. Krehbiel

1t is likely that a feeling of disap-
polntment, even of resentment. was
lett IN the minds of many of the listen
ers at the concert of the Philharmonic
Society in Carnegie Hall Yesterday.
II the spirits of Bach and Beethoven
lent listening car to the Suite in
ID and the third "Leonore" overture
they must have grieved over the man
ner IN which The players rceied off
thelr beautiful music in complacent
obedience to the wishes of Mr.. Stran-
sky 1t was sorrow and a vexation
to the souls of discriminating listeners
to hear the lifeless, colorless, unex-
pressive, unimaginative. literal reading
OF the printed pages. But after this
mad been endured there came features
when made, If not for atonement at
least for charitable forgiveness. Chief
OF these features was the delivery of
TWO magnificent war poems, with illu-
mlnative music By III. Carlo Liten. a
Belgian actor.
They were "Le Carlton" and "L.e
Ni"Pedu bclRe, written straight out
OF throbbing patriotic Belgian
heart by Emile Cammacrts and pro-
vlded with music by Edward Elgar
Poetry and music both date from the
early days of Bclgium's atfliction, and
the music of "Le Carlton" was writ
ten as the English composers contri-
button to King Alberts book. pub
llshed in 1915. 1t was first heard in
New York under the direction Of Mr.
waiter Damrosch, at a concert by the
Oratarlo Society, December 6, 1917, and
repeated a few weeks later at CON
cert Of the Symphony Society. The
reader then was Miss Frances Starr.
In London, where it had its irst per-
formancc, the poem was spoken by its
translator, Tita Brand, who s Marie
Brcma's daughter and the poets wife
Yesterday it and its companion piece
were heard in French from man to
whom the language was native and
tho sentiment n religion. M. Litcn,
who has carried both poems to some
Of the principal musical centres of
the Philadelphia, Cincinnati
them in this city last summer, we be-
licve, but under less favorable condi-
tions than those of yesterday.
Sir Edwards music to "Lc Carlton"
is a hcavy-henrtcd dance measure,
based on motive taken from the bell
chimes, which are Il part of the char
acteristic music Of the Low Countries.
1t calls up the picture of people
urging their soldiers to sing and dance
in pride of defeat and joy Of honor
while crying their eyes out, and when
the orchestra first ceased its lifting
measure and Nj. Litens saturated
voice exclaimed, "Chantons, Belges,
chantons," the words were as heart
searching as his clarion-s shout, EN-
tree triomphale la-bas, q Berlin!" was
clcctrifying. The music to lie Ora
peau Beige" is cast in different
mould.
1t is a profoundly beautiful march,
"Noirc, jaune, rouge" as it fell from
the lips of the actor, publishes grief
unmngled with dauntlcss cndeavor,
unainching purpose and lNgh hope. 1t
was impossible not TO feel that NJ.
Liten's voice was that of tie poet and
the poets country, and he must have
been a callous listener in whom it did
rot cause a swelling cf the heart as
has not been felt during the long years
Of strife and doubt and Whiting
Features of the concert which awall-
ened pleasurable sensations through
less profound emotions were the sing
ing by Miss Lucy Gates Of cne Of Con-
stanza's airs from Mozart's opera
"Die Entfuhrung aus dem Serial" and
a song with orchestral accompaniment
entitled "Swans," by A. Walter Kramer.
The forid opera air tested her skill
not little and disclosed g. few flaws
in her lovely voice and almost equally
lovely art, but in the song by Mr..
Kramer, New York composer, she
was thoroughly admirable The song
itself is a beautiful one, in which mel
ody, harmony and orchestraton, all
mood in consonance with the poem and
maintain it unfalteringly from begin
ming to end. There was much less ex
cellence, bit much more pretcnsion, in
Mr.. Rudolph CAMS "a Thought and
less beauty Of performance. The cor
cert came to an end with some Of
Gricg's music to peer Gynt" in which
Miss Gates sang "Solvejg's Song
In the evening at Carnegie Hall Mr.
Meyer Kanewsky, Jewish cantor,
gave concert of an unusual KIND:
Like some of his predecessors he did
not confinc himself to the ritual music
of the synagogue, but ventured also
into the operate field and the fields of
Russian art and folksong. His voice
is a lyric tenor, with considerably
natural beauty, but his style is full of
strange mannerisms. One of his Yid-
dish folksongs in praise of mother
hood, though it sounded strangely dis
iointed to Gentle ears, seemed to make
a strong appeal to the audience, as did
also another, entitled eli, Eli" in
which the Oriental influence was pro-
nounced. It's concluding words "Schma
Yisroel" ("IIear ye, Israel) stirred
up a feeling that could not wait for its
outlet till the conclusion of the song.