New-York tribune., 1921-03-14
Playful Suite
By Strauss i'm
Premier Here
National Symphony Heard
at Carnegie Hall in Airs
From Humorous ''Bour-
geois G. entil h O m M e.
Russian Barytone Sings
Josef Schwartz, at Philhar.
monic, Shows His Voice Is
at Best With Orchestra

An orchestral suite from Richard
Strauss's music to Moliere's LIE Bour-
geois Gentlhomme" was played for the
first time in New York at a concert by
the National Symphony Orchestra last
evening at Carnegie Hall. Strauss and
his lihrettist, Won Hofmannsthal, con-
ceived the idea of combining play and
nm opera. The result, lie Bourgeois
Gentilhomme,' transformed into Der
Buerger ais Edelmann," and "Ariadne
auf Naxos," was dedicated to Max Rein
hardt, who had assisted poet and com
poser in staging Der Rosenkavalier"
An English version of play and opera
London, in 1913. Probably the first bit
of music from the combined dramatic
and operate concocton to be heard in
America was an aria from "Ariadne,"
sung by Miss Mabel Garrison in Boston
at a concert by the Boston Symphony
Society in 1918 in the reign of DR. Karl
Muck.
The suite played last evening is in
nine numbers: Overture, minuet, The
Fencing Master, entrance and dance of
the tailors. mnuet of Lully Courante,
entrance of Cleonte. introduction to
Act II, table music and dance of the
young kitchen servants.
Tunes Are Humorous
Strauss probably wrote this music,
whichis scored for only thirtv-six
TO refute the charge that he needed q
huge orchestra in order TO express HIM
self. ''''
The nine pieces are delightfully."- hu-
morous in character. Using modern
harmonic and instrumental devices, he
has ingeniously suggested the grace
and fermallty, elegance and gayety OF
seventeenth and eighteenth century
music he has been particularly sue
cessfdl in his musical description of
the fencing master, in which he has
used the piano effectively. The pranks
Of the tailors who bring new garments
to the bourgeoise also are deftly pic
tured. The Overture, the Minuet and
the Minuet OF Lully all have an Old
World charm and stateliness. There is
comic realism in the table music. where
Don Quixote' 5 sheep are heard again
IN the muted brass, this time with the
evident intent to conjure up visions of
roast mutton. AS a whole, the Suite is
fascinating rocco music in modern
harmcnies.
Four movements from Mozart's
"Haffner" Serenade provided congenial
ompanionship, but the program. which
further included Rachmaninotf's third
concerto. played by the composer, and
The overture to "Tannhauser," would
have been long enough without this
opening number Mr.. Mengelberg took
the concerto al a furious pace, which at
times threatened to overpower the com
roser-pianist. 1t was an exciting per-
formance.
Schwartz at Philharmonic
At the Philharmonic concert in the
aiternoon Josef Schwartz, Russian
harytone, who has given two recitals
this season, was the soloist. In the
ssria "Eri Tu," from Ver1i's "Masked
NALL and Wotan's "Farewell' and the
Magic Fire scene, from Die Wal
kuere,' Mr.. Schwartz proved far more
Effective than in recital. His voice is
ct Its best when supported by an or
thestra, and opera is evidently his most
successful medium of expression. The
ether numbers were Rachmannoff's
second symphony and Griegs Elegiac
melodies, Heart Wounds" and "The
Last Spring"