davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18
Next Wednesday To
Be Belgian Night
At the Stadium

Buses to run directly TO the Stadium,
two lines, one up Riverside Drive. the
other up St. Nicholas Avenue. supple
menting the subway and surface car
transportation already existing, is the
Stadium concerts newest feature. Fol
lowing resolution passed by the
Board of Estimate. this Stadium bus
service, to continue through the season
of the concerts, was started Wednesday
night. From Washington Square and
Fifth Avenue and Twenty-second Street
the busses marked Stadium Concerts
will run up Fifth Avenue on a five
minute Roadway, beginning at o'clock
Belgian Night" on Wednesday. will
be the event of this week, with Rafaelo
Diaz and Nine. Christanne Eymael. So
loists, and committee composed Of
leading Belgians in New York, headed
by Father Stillmans, of St Aberts
Church, West Forty-seventh Street in
! charge. Nine. Eymael VIII start the
evening with the Belgian national an
them, LA Brabanconne." Later she
will sing Mater Dolorosa." from Cesar
Franck's LES Beatitudes." Rafaelo
Diaz's numbers will include the Flower
Song from Carmen" and the aria
"Cielo Mar" from Ponchielli's LA
Gloconda."
Last night Cantor Kanewsky sang
and tonight Sascha Jacobsen will play
Tomorrow Rachel Morton Harris VIII
sing, and Tuesday Harriet Scholder will
play. Friday will be Wagner night,
with no soloist, and Thursday Nina
Morgana will sing.
The weeks programs follow in de-
tail:
SUNDAY
solost sescha Jacobsen. violin
Wedding March from Midsummer
Capriccio Italien. ......... Tschsfkowsl<y
Concerto for violin -....s...-. Paganini
Poonaise from Eugene Onegin'.
Tschaikowsly
Overture. "Mignon" ............. Thomas
MONDAY
soost. Sascha Jacobsen. violin
MaFen Ia Turha. Mozsrt- i4erbeok
symphonie poem The River MOI d1sf'''0Ss"
Mcac.a's aria from Carmen BIZ
Mrs. Harris.
Dream Pantoniine from 'Iiaensel
Eatr ace and is4rearoiis from Tales
Aria. "Piearez mes Yeax'' from 9 sne
Mrs Harris
: i1de 10 ne Aastrfs4agers or
Nuremberg -......- . --........ Wagner
TUESDAY.
Sololst. Harriet schoider. piano
symphony No From the New
world :-.....-- Dvorsk
Adagio, allegro motto. largo. scherzo
allegro fuoco.
Concerto FOR piano IN 4 ma Tor. 49, I-isA
Miss Scnoider
From Midsummer Nights Dream"
Necturne, scnerzo. 1860. Mendelssohn
! Overture, Plying Dutehman Wagner
! WEDNESDAY (BELGIAN NIGHT.
soloists: Rafaeo Diaz. tenor; Nine. Chris
tame Eynael
Belgian national anthem. la Bra
bancenae" .-........... Mae. EYrnaeI
Military march. ''Pomp and circun.-
stance ..s.-......,. Elgar
Flower Song from Carmen ....... BIzet
Rafaelo Diaz
Ballet music from The Queen Of
Shcna 49, eSoldEna ark
Air, Mater Dolorosar from Les
Beat!tudes" ....... 1880. Cesar FranoiS
Nine Eyma.i.
Symphonic poem. Phaeson' Saint Sans
4 Hacchanale Philemon ami Baucis" .Gounod
Aria. cieio Mar from La Gio-
eonda -........-. Ponchieiii
Rafaelo Diaz.
Hungarian Rhapsody No. 2........... Ldszt
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18

robbed the word pleasing of it's
banalty.
AS Conductor of Choral and Orches-
trail Concerts
at is precisely this gift of pleasing
in it's most Gallo sense, let us even
say in it's most Latin Interpretation,
that charms above everything else in
Mengelberg's conducting. His cult for
form makes him one of the most pro-
digious laborers in art that music has
ever encountered. Orchestra, chorus,
even soloists, under his baton have a
charm that surprises and delights
His secret? At bottom, it is very
simple one. Mengelberg sings, and he
demands and obtains that every one
about him sing with him. Soloists? He
demands, for example, that they shall
be talented, but he permits them all
freedom, all ease in execution, with
out which there is neither expansive
ness nor radiance. The orchestra?
From the very last contrabass to the
smallest flute not one musician must
appear to scrape or blow. Each one
considered as an artist cannot do
otherwise than play as an artist. What
a marvellous ensemble is theirs, united
by the same feeling for phrasing and
rhythm, in the same method, best de-
scribed by the we'll turned Italian
phrase, bel canto.' Bel canto, too.
is the distinguishing feature of that
huge chorus of six hundred voices,
when the most formidable sorority fol-
lows the most mysterious pianissimo,
without the slightest semblance of
shouting; when emphasis is none the
less vigorous because it is translated
into artistic utterance; when nuance
is subordinated to expression without
seeking for false effects; when the
splendor of technic is at the service of
a style both simple and just; when
discipline does not. act AS weighty
restraint, but as a stimulant for the
spirit and powers of all; when music
bursts forth spontaneously, freely and
joyously
"What is the difference between this
chorus and similar German singing So
cieties? The difference which distn-
guishes the two races and which imme-
dately strikes the most superficial OBJ
server? Here there is nothing of the
barren magniicence of the German
choruses. l remember q performance Of
the minor mass in Berlin. The unity
of orchestra and chorus was admirable.
But how emotion was paralyzed by arti-
flee. What dscordant effects What
poor execution i'll concealed beneath
pious intentions and the wish to serve
the work. What a perpetual and un-
pleasant nterposition of the conductor
between the composer and the audience.
at is to the honor and glory of Mem
eeberg that he is entirely opposed to
this type of Interpretation. No one has
greater facility for assmilating the
widest variety OF styles. No one-and
it seems paradoxical to say it about an
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18

one follows him--as I have done-in
one or two of the great tasks of his
career, one realizes that in the tribute
paid him by his fellow citizens the
voice Of gratitude speaks as loudly as
the voice of admiration. In Amster-
dam he has not only shown himself
a great and brilliant artistic has
been and will remain man with a
life work, and what life work.
"He was scarcely tWenty-four years
old when committee boldly decided
to put into his hands the finest mu-
steal resources of Holland: first, the
Konzertgebouw Orchestra, and, shortly
afterward, the chorus of the Toon-
kunst. This organized orchestra and
large chorus were housed in magnifi-
tanned in the setting of stable and
powerful organization, to which, I'M
fortunately, nothing that France has
to offer can be compared. Indeed what
have we that can be compared to this
century old group founded solely by
private initiative known in Holland as
the Society for the Encouragement of
Musical Art, and which has multiplied
throughout the smallest towns, into
schools, concert halls and, above all,
choral societies?
distinguished conductors had pre-
coded Mengelberg in Amsterdam. AS ex-
cellent professionals they had used the
means of execution placed at their dis
position. They had satisfied to the best
of their ability the need of music which
lies deeply rooted not only in the taste
but also in the tradition and in the
morals of Holland. There was good
reason to boast of the honorable artistic
plane that was maintained by them with
the Amsterdam concerts.
"How has this plane been raised by
Mengeberg? All musicians who have
passed through Amsterdam have been
unanimous in their answer. The in
credible perfection of execution the in
finite variety of the programs, the
breadth of vision which had admitted
the most widely diversified productions,
provided an interest was attached to
| them, the understanding of more and
more highly cultivated public; all this
has made Amsterdam an Incompatible
music center. regarded by many as
unique throughout the world. Listen
to the konzertgebouw with Mengeberg
in performance of Bach's Passion
According to Saint Matthew Beetho-
vens 'Missa Solemnis,' Faure's Re-
QUEEN or Franck's 'Beatitudes,' and
tell me if it is possible to put at the
service of these chefs-d 'Guvre a finer
sensitiveness, broader intelligence, a
greater wealth OF sorority. Mengelberg
is among those who consider that inter-
probation is nothing without execution.
and that in art beauty OF thought is
only revealed through beauty of matter.
A self-evdent truth, as it seems to me.
Yet [ know some, even IN France, who
deny this, repudiating charm as frivolity,
forgetting that Moliere and others
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18

artist with such powerful and original
means of expression-has a greater gift
for self-effacement. This impression oc-
Cured to me once again at Amsterdam
only the other day. He was conduct
ing Mahler's Eighth Symphony, that
one which surpasses all the de-
vices of Berlioz and sets in motion the
most gigantic musical apparatus that
has ever been assembled. I had already
listened to the same work conducted
by the composer. This was at Munich
in 1910, one year before his death. A
few Frenchmen were present, and we
we're all, think, of the same mind in
a feeling of reserve. To think that
after hearing the Amsterdam perform
ance l was united with those who pro-
claimed this work one of the master
pieces of music! But | would not be
truthful in not recognizing that in the
magic of an execution, of which no idea
can be given, monument was revealed
which it would be childish to ignore,
and that here again the personality of
Mengelberg asserted itself by the most
intimate contact.
"A virtuoso-even more so than most
of the conductors whose periodical re-
turn formed part of clever exploita-
ton of Partisan snobbism-Mengelbe
like them, might lead lucrative and
nomadic existence. Believe me when
say that he directs the symphonies of
Beethoven as we'll as Weingartner, and
that he would never have consented to
associate his name with such pitiful
exhibitions as certain performances OF
Parsifap or the works of Handel at
the Trocadero. 1t is true that Vein
gartner was good fellow He could
never refuse anything not even
his signature at the bottom of certain
manifesto. What a mistake was made
that day by this amiable man
'Mengelberg has preferred to devote
the best of his powers and his activity
to a life work and TO an ideal He
wished music to have cult worthy of
s"e i''aS ii'ileehe temple eIeCleu III MS
country. With the authority of indis-
putable talent, with the force of un-
shaken determinat ton. with the seduc-
ton of an open mind, ne has made
Amsterdam sanctuary Of art. His
compatriots realize this and honor him
as great citizen. How l approve them.
How happy l am TO associate myself
with their homage"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18

summer exhibition of series Of
paintings on early American history
by Major John Ward Dunsmore, U.
S. A. The show opened Wednesday at
the Hotel Central Park at Seventy
second Street.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18
vIOLINs

Have inherited two victims and, not
being violinist. offer them for sale.
One is a full size Francesca Ruger.
1893, and has large resonant tone
and 10 in perfect condition. Was
played upon by the late Theodore
Thomas In concert tour. The other
is an Antonius & Heterogeneous Amati.
1919, has soft mellow tone. and Is
also in perfect condition. For further
details and prices. address Box ~.
Ha-Ho-Kus. New Jersey.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18
ERlCK SATIE. AND THE PROGRAM OF THE.
SATIE FESTIVAL. GIVEN IN PARIS
"Three Pear-shaped Pieces" "The
Dreamy Fish" and others.

"Three Pear-shaped Pieces" "The
Dreamy Fish" and others.
But in his serious moments this fan
tasist, born at Honheur of a Scotch
mother and a French father, is we'll
worth attention. His Sarabandes, Gym
nopedies and Gnossienes have been
played in this country by George Cope
land. Of these piano pieces the Gym
nopedies, sacred dances of Sparta, and
the Gnossienes, dances of Grecian
women, are full of fascinating themes
and throbbing rhythms which once heard
are not easily forgotten
At the Satie Festival his "Socrate"
(Socrates), a symphonic drama in three
parts for voice and orchestra based on
the Dialogues of Plato, was given its
first hearing. The first part is called
"The Portrait of Socrates--The Ban
quet"; the second, "The Banks of the
Ilssus-Phedre" the third, "The Death
Of STANDARDIZATION" A copy of this
work accompanied the letter printed
above. There is little to commend it to
the average lover Of music. "Adieu, New
York" an absurd, connection of ,disso-
nances. fox trot by George Auric, a
shining light Of the Sirene group, was
also in the package, and the first number
of a copy of -"ie Co.," the official
organ of expression for the group of
musicians shepherded by Cocteau. lie
Cog" four-page pamphlet, printed on
the pinkest of pink paper. is evidently
intended as a passionate proclamation
of the sanity of the brotherhood.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18
By Katharine Wright

4 musical friend, whose name
~;.hhold. has sent the following lette,
:. II f. Krehbiel dealing with recent
nns;cal adventures in Paris:
F. Krehbiel, Esq, New York
Tribune.
near Mr.. Krehbiel: ! am going to
ssnd YOU few lines of such COM
msut as we might exchange in
chance meeting.
/ am just home from perform
.rse Of "Marouf" at the Opera
comiaue. You may not remember
nat we had talk about it once and
That was so glad to find you giving
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18

The director of the Hotel Majestic
Art Salon has issued invitations to a
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18
Random Art Notes
At Home and Abroad
Autographs and Etchings on View at Columbia
University for the Summer Session; Display
of Photographs at Camera Club

A collection of interesting etchings
and Autographs will go on exhibition
tomorrow at the Avery Library, Co.
lumbia University, it was announced
last week by John ]. Cox, director of
the summer session.
The etchings and Autographs are
historical in subject. Chief place in
the exhibit has been given to Amer-
can etchings. Among the artists
whose work is represented are Whistler,
Joseph Pennell, ]. F. Millet, Anders
Zorn, Ernest D. Roth, Kerr Ely, Alex
andre Calame, Charles Jacque and Corot.
This exhibition has been especially
planned for the benefit of students in
the summer courses at Columbia.
More than the usual number have
been enrolled in the art courses at
the university this summer. Al
though the exhibition was selected
with view to their needs for study,
it is also open to the public. The
pictures have been loaned by Frederick
Keppel & Co. The exhibition will ex-
tend for two weeks.
An, exhibition o. costume drawings
and models, the designs for which are
said to have been inspired by study
Of works of art in the museums and
libraries, is on view at the Bush
Terminal Sales Building and will con-
tinue until July 21. The drawings
and models are the work of students
of Cooper Union, New York Evening
School of Industrial Art and the
Brooklyn Teachers Association class,
under the direction of Miss Ethel
Traphagen.
An exhibition Of forty pictorial
photographs by Rabinovitch is or
view at the Camera Club, 121 West
Sixty-eighth Street. Many unusual
effects have been attained by the
photographer in his use of fancy
papers for reproduction and retouch-
ing with crayon and the airbrush
There is nothing especially distinc-
tive about Mr.. Rabnovitch's work
but his collection offers a variety o,
handling that should be an interesting
study for persons interested in taking
photographs.
The director of the Hotel Majestic
Art Salon has issued invitations to s
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18
English Critics Impressions of Amer
can Artists

In the following article from "The
Manchester Guardian" Ernest Newman,
the distinguished English music critic,
is gloomy apropos Of the present Lon
don season in general and the appear
ance Of American artists, not forgetting
the New York Symphony Orchestra, in
particular.
"None Of US will be sorry when the
present season is over. 1t is the first
season since 1914 that has had a chance
Of being like those of the old days, and
perhaps we have expected too much from
it. Anyhow, we have ali been disap-
pointed. The American contribution to
it has been, perhaps, the most disap-
pointing of all MI Cecil Tanning has
always been worth listening to, and the
New York contralto who appeared here
for the first time last week, Miss Sophie
Braslau, made good impression. She
| has a voice, a style and brains. The
other people, competent most of them
have BEEN have not exactly dazzled us.
! Perhaps the American agents methods
have been at fault Some of these gen
tlemen, according to rumor, set out with
the avowed intention of teaching us
stickin-the mud Britishers how con-
certs ought to be run. l think they are
a little wiser to-day, and | am sorry to
say the lesson will have reached their
minds via their pockets. They plainly
did not know their London or they
would not have taken Queens Hall for
singers whose very names We're unknown
to any one over here except a few OF
US whose business it is to read the
American musical journals. There are
probably not more than a dozen per-
formers Of worldwide reputation, who
have also been favortes of the British
4 public for years, who would venture to
give recital in Queens Hall 1t takes
a large number of people to make it look
even moderately we'll filled, and when
there is only handful of listeners in it
it is one of the most depressing sights
Imaginable One OF two Of the audi
ences at these American recitals have
UScii SO sinai as W lildhe us sincerely
sorry for the artist who had to face
the vast, empty space. At one recital
attended I should not have been sur
prised to hear that a tc7-pound note
would have bought all the tickets that
had been sold. The largest of these
audiences has been mserably small for
Queens Hall, but it would have made
quite good show at the Eolian or the
Wigmore. There it would have looked
like success and the singer might have
built up an English public for himself
by degrees, as Mr.. Tanning has done;
in Queens Hall the finest singing could
not have made the venture look like any
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18

second Street.
An artistic collection of the work
view this summer at the Mappin Art
Gallery, Sheffield. England. ''The Man
chester Guardian" critic says.
Although it might be easy to show
a collection Of work displaying more
power, it would be hard to bring to-
gether from any source any collection
which would be more artistic. Messrs.
Southall, Gaskin, Gege and Payne have
each their special characteristics, but
it is true of all that everything they
touch seems to turn to art Attractive
shapes and bright colors charm the eve
everywhere in the exhibition. The
painters are so much in the atmosphere
of art that nothing they see is out
side of it.
Ordinary people, viewed in the
street, in a restaurant, at the seaside,
even in police court, become inhabi-
tants Of delightful world of the I'M
agination. full of color and grace.
Painted landscapes, even of familiar
scenes, have somehow the dross of
actually refined away. 1t is partly,
of course, that the artists have. looked
back, as Burne-Jones did, to the ff-
teenth century, but, if less powerful,
they are more cheerful than he was.
More successfully, as it seems to US,
In their modern subjects than in their
allegories, these Birmingham painters,
by refinement and concentration or
the brightest possibilities in their sub
jects, display delightful world. It
does not give all the truth. There
is no suggestion of strenuous labor,
but it is cheerful place"
A watercolor drawing by Turner, be-
longing to the University of London. is
on view at the Whitechapel Art Gallery.
"The London Daily Telegraph" SAYS
that since 1900 this bequest, which was
made by the late Henry Vaughan, has
been jealousy guarded from the light
and is in splendid condition. The loan
for public exhibition this summer is
part of the university extension
scheme.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18
A Satie Festival

have heard very little music, but
| have heard two concerts of modern
French composers. One an S. NJ. l.
program. Roger-Ducasse, Milhaud,
Faure and de Falla, the composers,
performing. am surprised with
myself to admit that l was disap-
pointed, even bored. The other a
Satie program, a festival with a con-
ference by Jean Cocteau and much
to do. | was more than bored. I
thought it was vacuous fanfaron-
ade and affectation. The great sur
prise was that Satie was no fantas-
tic Montmartre type; but a profess
serial, dignified oldish gentleman of
apparently serious artistic convic-
tons. 4 fine motherly, black silk
dressed lady who sat beside me
smiled benignly and wiped the tears
from her eyes with such adoring
satisfaction that | am inclined to
believe it was his wife.
But the music-all except the
group of Sarabandes, Guossienes
and Gymnopedies, which Vines
played-what Stiffness! I can enjoy
reading some Of the absurdly ammo
tated things as examples of musical
satire because it is the literary fool
ing which is amusing, but to set
them up as absolute music seems to
me to spoil the old gentleman's fun.
| should say his votaries made
FOOLS holiday of him. Nobody kicked
the plate or wore a putty rose to be
funny,
| met Cocteau and he made a list
of the books and music his La
Sirene group admire. He is good
looking, neatly dressed. clean little
man and Greenwich Village would
cruelty him in chagrin and disap-
pointment. for they regard him as a
prophet Of all they stand for.
1t is surprising to learn that the pro
gram of music by Roger-Ducasse, Mil
baud, Faure and de Falla should hav'
created an impression of boredom. Thes
are all serious men. Some of their work
have been admired even in America
Their creative spirit is far removed iron
the studied eccentricity of the ultr'
modern group headed by Sate.
The complete works of this amabl
old gentleman, whose name appears t.
have undergone third Transformation
Eric, Erik and now Erick--hav'
wrung squeals of joy from mino
prophets. Like Mr.. Percy Granger, h
is something OF humo-ist, for some O
the directions on his music require tina
certain pieces shall be played ION yellow
velvet. dry as cuckoo, light as an egg,
with the edge of the hand" "withou
noise" with hands in the pockets.
His titles are equally entertaining a
"Cold Pieces" "Airs to Make You Run,
"Things Seen from Right and Left,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18
DRAWINGS

VIII sell 100 original sketehes by
famous illustrators tHarrison Cody.
Charles Livingston Bull. etc.,. slngiy
or IN one lot. VIII place drawings on
week. II not convenient to cali .vrgfa
TOT Isl and prices Curiosity Cellar.
10 West tth St, between Washincton
square and 6th Ave.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-07-18

thing but failure, and we can under
stand the reluctance of an artist to face
the possibility of second attempt.
The New York Symphony Orchestra
has not come up to our expectations
There is general unwillingness on the
part of the press to deal very criti-
cally with it, because it is felt that
its visit is prompted in part by the
desire to strengthen the Anglo-Ameri-
can entente. | cannot myself see why
considerations of that sort should
weigh with critic; I do not antici-
pate angry words between Downing
Street and the White House, followed
by anti-British riots in Chicago and
Milwaukee, and these by American bat
tleships bombarding Liverpool as a re-
suit of the critics discussing this ar
tistic organization as freely as they
would any other. The New York Sym
phony Orchestra is excellent as re-
CARDS its material, but all its playing
that l have heard has given me the
impression that Mr.. Damrosch's rigid
discipline has turned it into a ma
chine. AS a conductor he is unimagi-
native; he never throws much light
on the music, and sometimes manages
to obscure the light that would ra-
diate naturally from it if only it were
left alone. His performance of Cigars
First Symphony on Saturday was un-
speakably, irredeemably bad-coarse,
clumsy, tasteless, soulless. I am told
Mr.. Damrosch is great admirer and
lover of the work. I do not doubt it,
but l am irresistibly reminded of the
boy who became a butcher because he
was so fond of animals"