New-York tribune., 1920-06-13
By Ralph Courtney

By Ralph Courtney
PARIS, May 25-Much water has
passed under the Seine bridge since,
more than year ago, the French Min
ister of Fine Arts invited the Damrosch
orchestra to France and offered to
place at its disposition the greatest
national theater, the Paris Opera. If
Damrosch had bene able to accept the
invitation earlier he might have played
to the President of the Republic and
had honors pressed upon him at the
hands of the French civic authorities
AS it has happened. the French Presi
dent did not attend Damrosch's per-
formances, and even the Italian Ambas-
sador had previous engagement. Time
was VIII. IN any American institution,
good or bad was received in Europe
with open arms and flattered with un-
wonted attentions. Those were the
days when America was to ratify the
treaty, when she was about to join the
league of nations and, above all, when
she was expected to come to the finan-
cial help Of Europe.
In short, Damrosch's invitation to
play in France was accompanied by an
effuson Of politeness which has not
been realized in practice.
The Damrosch orchestra gave three
concerts in Paris before leaving for
Italy, Belgium, Holland and finally Eng
land. Americans from all over France
came to Paris to attend On the other
hand, very few French people of the
great public came to hear the New York
Symphony Orchestra. To the French
man "American" and emusic" are not
two words which he usually associates
together. He knows the jazz and loves
it. That is real "American" music; he
has yet to learn that Americans can
produce or play any other kind.
Composers Flock to Concert
America is permanently booked in
the French mind to produce something
extravagant, outre, or at least comic.
The costliest hat or Sousa's Band or
President Wilson go straight to the
French heart. But who ever heard Of
New York Symphony Orchestra?
Damrosch also had the misfortune to
make his debuts simultaneously with
two new theatrical productions, "The
Perverts" and "a Rich Affair."" both
stronger meat for the pubic than a
symphony orchestra.
Turning from the general public to
OC l,
story of Damroschs appearance in
Paris is quite different. Not only all
those deeply interested I'm music but
all the great composers themselves
came to hear Damrosch. Among these
was Vincent d'Indy, whose "Istar"
Damrosch gave in a manner which
thoroughly delighted its author.
Orchestra Charms Composer
asked French composer and mu-
sician to give me his candid opinion
of the New York Orchestra's playing.
His verdict is as follows.
~ was particularly charmed by the
discipline, unity and feeling for music
displayed by the musicians from New
York. Their chords were expressive
and supple, their brasses powerful
without undue strength; the wood
instruments were played with the same
charm as our own French bois, which
are noted for their pure and pastoral
tone. The general execution was
rhythmic, varied and remarkably in
tclligent. Only artists accustomed to
working together under the leadership
of the same conductor can reach such
perfection. 1t was specially in French
modern music that l appreciated their
playing. Daphnis and Chloe by Ravel
is a work which requires great delicacy
"The shading is subtle and fugitive,
especially in the overture, where the
play of light accompanying the dawn
of day is described. Under the in
telligent and inspired leadership of
Damrosch the players arrived at re-
suits which could we'll make our French
orchestras envious. In the rather alb
stract variations Of Tstar,' in which
the theme, at first overcharged with
complexity, gradually simplifes itself,
they were also marvellous. | must say
however, that l liked them less in the
Heroic Symphony of Beethoven, which
to my mind demands more austerity
and grandeur. In saying this | ex-
cept the Dead March, in which the
rhythm, sharp and weighty, which ac-
companies the lamentation of the
violins, was finely rendered"
Translation Praised
"L'Homme Llbre" says: although
| am chauvin enough to demand the
integral fulfillment of the Treaty of
Versailles, think I can risk the state
ment that I found much more COM
plete pleasure in hearing the Heroic
Symphony executed by the orchestra of
M. Weingartner than that of Walter
Damrosch. But l am prepared to give
due praise to the good translation, if
may so express myself, which the latter
gave US of Istar' and the praise
worthy intentions which he exerted
in interpreting the subtle Maurice
Ravel"
"Liberte" opines "The real sense of
Beethoven and Franck seemed to es-
cape them. But in Mozart, who is
without great style, they introduced
an agreeable lightness, and their inter
probation of modern authors was en-
tirely remarkable. Their playing of
'Daphns and Chloe especially aroused
great enthusiasm"
'tlOArO' 0Tho pcfo oHo o~tc