New-York tribune., 1920-11-29

strange idom. though the shock of de-
lightful recognition and enjoyment Of
its spirit cannot have been so great
as it was to the audience yesterday.
with engaging frankness and COM
plete nonchaance MIR. Carpenter has
essayed musical Amercanese in this
composition.
A Combination of Airs
He has picked up the propulsive
'hythms of our dance halls caught the
rollicking sirit of our popular songs
(the worst with the best) enlisted the
oevl ll-may-care moods of the multi lde
en- needless pleasure bent and made
hem serve the purposes Of art
At least he has tried to; for even
while still under the influence of the
infection OF jollity and merriment m
jected by his music we are not quite
C rtain that he has accomplished a
great service to art.
What we do know, however. is that
what Dvorak did n, large and serious
style in his symphony From the New
World and its companions the
quartet and quintet for strings COM
posed during his sojourn in the United
lighter manner. one calculated to make
wider appeal for popular favor, be-
cause exacting smaller degree of
artistic intelligence and taste
The derivation of the composition in
its serene and most ingratiating mo-
ments from Dvorak's symphony was
too obvious to escape the attention of
its hearers; but it was not summed up
in the paraphrase of the principal
melody of the symphony's slow move
ment.
In the extension Of the opening
phrase Of Mr.. Carpenters melody we
thought we recognized an effort also
to assmilate one of the characters
of Indian music, but in another place a
copy of Dvorak's device in introducing
the beginning of Yankee Doodle
(Which in the symphony is the prin-
cipal subject of the last movement
"in diminution," as musicians say.
full period of Dan Emmctt's
there is a tinge of Stephen c. Foster, as
we'll as Of slave songs. throughout the
slow action; but the barbarism of
restaurant and cabaret bands rests
upon it all in the excessive use of the
percussion instruments-drums, Gym
balls, castanets. tambourines.
And a pcnchant for noise (sonority,
the apologists will call it) is indulged to
the full We wonder, just mere, if Mr..
Carpenter realizes how often he climbs
the hill of din and drops suddenly
off the cliff into gentle valley in
every five minutes of his piece.
The releases from the brazen blasts
and horrihc dinning we're NOSE well
come, but the experience became
monotonous before the concertino was
ended.
Composer Wins Applaure
has given characterization of his
Apostle. He kens it to a light
hearted conversation between piano
forte and orchestra, both somewhat
garrulous, both q little Indifferent to
politeconventiors. Beethoven, we be-
licve it was, who, casting about for
Teutonic equivalent for concerto, hit
upon "Streitstjick "a contest between
solo instrument and its orchestral
coaGj ltors.
Mr.. Carpenters conceit is happier
and is capitally illustrated in the
actual relatio. hip between the piano
forte and orchestra. 1t is amiablc, but
high every few minutes that we are
made to fear that ther. may be a
rupture of their friendship.
In one place, too, toward the close,
their language becomes dsparate~the
orchestra talking in one tongue,
the pianoforte in another, the effect
being something like the uttcranccs
which Swedenborg imagined he heard
coming from the lips OF the denizens
Of hell.
The sharp, propulsive, rollicking
rhythms of the music were right after
the heart of Mr.. Granger and he
played his part con 0more Mr.. Dam
rosch conducted in the same spirit. the
orchestra was prompt in its response
and the performance went like wildfre
which kindled gladstone enthusiasm
in the audience.
The feeling rose to something akin
TO excitement, which broke into wave
after wave or applause. Mr. Dam
rosch and Mr.. Granger returned to the
stage again and again to bow their
thanks and by gestures turned the
demonstration over to the composer,
who sat in one of the boxes and had
to rise repeatedly to acknowledge the
tribute which his music had won.
The concert began with LISTS
Faust" symphony and ended With
Tschaikofskys "Nutcraclser" Suite,
music full of piquancies, in which in
yention and inspiration are one and
the same thing and flow in beautiful
stream between banks on which bios
som the flowers of genius.