New-York tribune., 1921-01-22
Hadley Directs
Philharmonic
In Own Work
Symphony Composed in '97
Given as Novel Feature
of Carnegie Hall Concert;
Miss Ballon on Program
Melting Pot for Opera
Singing of Russian Music
in Italian Is Resented
as Overstepping Proprieay
BY II. f. Kreh bel

,nonic concert in Carnegie Hall yestsr-
day afternoon we've q symphony hy
Henry Hadley, who conducted the per
formance of the work, ard tho playing
Of the solo part of Saint-Saans's piano
forte concerto in G minor by Miss Ellev
Ballon.
Strictly speaking, neither of these
features was new. Nj. Hedleys syr'-
phony was composed in 1897 and re-
ceived first performance ut concert
Of the Manuscript Society directed by
Anton Seidl in December of the same
year. Miss Ballon, though she wore
the frock of child yesterday, gave
concert in Mehdelssohn Hail in March,
1910. That is nearly eleven years ago.
She has grown in years since, and,
whatever she may have been then, she
can scarcely be accounted prodigy
now.
Her fingers seemed adequate to the
concerto in nimbleness and strength
yesterday, but there were few evil
dences of maturity of understanding or
feeling in her playing.
HadIey Widely Experienced
Mr.. 'Hadley was no novice in compo-
eition when he wrote the symphony in
F. which he entitled youth and Life"
He had already put opus numbers OF
twenty-four compositions. and there
were moments in yesterdays perform
ance, particularly during she playful
movement of the work, when we were
L. In,A =
imagination was more Spontaneous and
vigorous when he wrote IN symphony
than it has been at any time within
the last decade.
He already had the marvellous facil-
fly of setting down whatever came lnto
his head. which we have had frequent
occasion to admire. but also the will
ingness to set down everything, re-
gardless of its value. which we have
lust as many occasions II deplorc.
In every one OF the four movements Of
this symphony he makes brave begin
ming. arousing expectations which un-
fortunately end IN disappointment
which grows steadily with each new de
vice of development. He is satisfied
with the orchestral palette Of the
classic writers and he wields mis- brush
with ease confidence and success, never
inviting his hearers to think of his
mOQeiS as ne QutS III UlS AOii JNott4Obc
of recens years. But the Discrepancies
between his aims and achievements are
great.
Besides the symphony and concerto
the program contained thu Till Eulen-
spiegel' of Richard strauss and
Dvoraks "Carnavai" overture. which
like the concerto, were effectively con-
Quoted by Mr.. Stransky
~. tn ho
musical melting pot in order to be
representative national Institution, but
II so, it ought to tend to produce an
artistic amalgam, rather than TO keep
separate the elements which go into
it. The Italian portion Of our citi-
zenry has ample consideration in the
repertofy of the Metropolitan Opera
House, and the French, though less
generously treated, is not altogether
neglected.
The German is on probation for rea-
sons which are too fresh and painful IN
the public mind to need mention.
Russian Operas Welcomed
The institutions only real stepchild
Is the native element of English origin.
To it, however, Difference has been paid
by the production of German works in
yernacular versions. Since he success
ful production of "Boris Godounoff'
Russian operas have enlisted attention,
and no others, save the italian, have
been so welcomed by our citizens Of
foreign birth as have M0ussorgskys
opera and Tschaikotf ''Eugene
8 Onyegin." The unaccountable and ns
4efensble thing about these produc-
fns. however, is that they are not
@ng either in the original language
their books or in the vernacuiar, but
IN Italian.
Surely here was the place and the
opportunity to strike blow to ma
biIity Of performing all operas in the
language in which they were written
10 lncontroyertible from a nigh artistic
point Of view; but when that is i'm
practicable the rights OF the native
tongue of the country become predorni-
nant and imperative.
English should not be excluded for
the convenience of few Italian sing
ers to whom it is unfamiliar. In
singers are compelled to learn the
language of the country. and there is
no institution il. better condition to
follow Europe's rule and enforce the
obligation than the Mctr politaa Opera
"Eugene Onyegin," which made an
agreeable Impression when lncorpo-
rated in the repertory last season, had
its HIet eIIormancS tniS season last
night Most Of the singers concerned
tn last seasons representations-Afis
Muzio, Nine. Howard. Mr. MartinelE.
Mr.. De Luca and M Didur-fllei j
their roles again last night.
The Illness Of Miss ,ordon, how
ever, compelled q change in the print
% cast, her place as the impersonator
Of Larina being filed b. Miss Perrin,
who yielded the part of Olga to Mias
ingram The changes did not mar the
effectiveness of the performance. Miss
ingram In particular disclosed musical
and dramatic endowments wholly ade-
9uate to the tenuous play but DELIGHT
1ui score. Miss Muzio, as usual. won
hearty commentator for her sinving
e the letter scene, and Megsrs he
Lucs and Martinelli walked throuoh
tns play and sang like gentlemen. The
most refreshing moments In the ooera
xxe snose depicting the harvest homr
xsStiyas In the first scene, with its
SURFING folk music and folk dance.
Ine scene went straight 70 the heart
~ the Russians in the audience a.5
many others. Mr. Bodanzky conduct
80 the performance with zeal and de-.
votion obviously inspired by gincere
saection for Tgchaikofsky's music.
Horse Aid Society Abandons
Arrests in Favor Of Educat;c,
he ILL.,.