New-York tribune., 1921-10-21
Ducasse's New
French March
Full of Uproar
Post-Armistice Music Stuns
Auditors at First Hearing
Given by Mr.. Damrosch
Before Symphony Society
Telmanyi Makes Friends
Violinist Discloses Mastery
of Art in His Inaugural
Aeolian Hall Appearance
By n. E. KrehbieI

IT there is anything in the present
state of Francois social or political
economy, its art, its letters, it's com
merce, its industry, its longings, hopes,
ambitions--which finds expression in
the new musical composition to which
Mr.. Walter Damroscn gave q hearing
at the first concert of the Symphony
Society yesterday, then France has our
sincere commiseration.
The subscribers to the society's con-
certs shall have it also if there is a
continued making or propaganda for
music like Roger Ducasse's "Marche
Francaise." There is no need of hest
fancy in discussing this compositio
for there is nothing vague, cryptic or
enigmatic about it. Everything about
it is as plain as pikestaf and needs
neither analyst nor expounder. 1t is
cerebral--let that be granted, though
its making need not have cost any
violent agitation in the composers
brain cells. 1t may be psychological; /;
everything is psychological nowadays
from great deeds of statecraft to the
laying of cobblestone. We only hope
that it reflects the psychological fer
mentation of Roger Ducasse and no
one else. 1t is descriptive music, the
most obvious element of which is its
striving to avoid the things which
might most obviously make for beauty
Of expression. 1t begins with a1arums,
to which succeed sounds of marrial
life-such as might live to make brave
pictures in time Of peace.
Tranquility Only Brief
One hopes that the proved gayety
of It's first strain may continue at
least long enough to satisfy grateful
ear. But no sooner is it's subject fairly
started than series Of restless tonal,
rhythmical and instrumental aberra-
tions begin which vex the ear, perplex
the fancy and confound the emotions.
No tint, no mood in the phantasma-
goria of sound lasts long enough to
make an impression. There is a re-
assuring lull in the confused noises,
moment Of restful tranquility, when
the call to battle is heard again in a
woeful transmogrifcation of the OPEN
ing strain Of the refrain in the "Mar-
seillaise" hymn. Why the melodic and
harmonic distortion? Perhaps NJ. Du-
casse and Mr.. Damrosch know, and
they are welcome to the knowledge.
Speaking for ourselves, and we think
Of those who heard the composition
yesterday who have kept their minds
safe from that affectation which finds
excellence in mere difference from
things hitherto accepted, there is more
sheer compulsion and propulsion in
Rouget de Lisle's "Aux armes, cito-
yens!" once uttered in unison than in
all the prodigious and platitudinous
uproar with which M. Ducasse ac-
companies his perverted version. And
though this is post-armistice music, its
end is a horrific melee. We hope it Is
not France that speaks thus, and espe-
cially that it is not the voice which
shall be dominant in the day that is
dawning.
The other features Of the concert do
not call for comment. Mr.. Kochansky
gave a performance to Tschaikoffsky's
violin concerto which was eloquent only
in it's suave movement, and Mr.. Dam
rosch and his men played Rachmani-
noff's symphony in e minor.
New Violinist Is Heard
The first words addressed to New
York's public by Mr.. Emil Telmanyi at
Aeolian Hall last night arrested atten-
tion. The new violinist from Magyar
land brings a message which will be
heard with very great interest indeed
He is an artist of prodigious technical
equipment, and his playing strikes out
sparks like the magic flint and steel Of
the Persian fairy tale, whereof each
one turns into Jim. There may be
more fire than poesy in his playing
(there certainly was in his performance
of Lalos Symphonic espagnole"D, but
the lines of his brush are bold, strong
and sweeping as we'll as lurid He car
ried the style of the Romany from the
music of Lalo into that of Bach-the
sonata in c. for violin alone-and