New-York tribune., 1922-11-12
Gortot liz SoIoist
AT Opening Concert
For Young People
New York Symphony Plays
Saint Saens geological
Number; Morini Displays
Ripened Art at Town Hall

Alfred Cortot, Saint-Saens and the
Damrosches were much in evidence
yesterday afternoon at the first
Young Peoples Concert of the New
York Symphony Orchestra at Carnegie
Hall, where Saint -Saens's animals
again held carnival under the baton
of Frank Damrosch, while Walter
Damrosch and Mr.. Cortot shared the
piano part. The humor Of this musi-
cal extravaganza was obvious, but
based to considerable extent on bur-
lesQue; humor of n distinctly musical
nature lay rather in Beethoven s Eighth
Symphony, which followed the opening
'Freisehuetz" overture. The symphony,
however, was taken by Walter Dam
rosch at a very leisurely pace, thus
seeming to lose some of its essential
liveliness, its "unbuttoned" quality, to
use favorite adjective of Beethoyen's. g.
There was distinct life, however, with
the appearance of Mr.. Cortot in the
Saint-Saens c minor concerto. Not
tho greatest of its kind, it gave the
French pianist a chance for per-
formance of brilliant high lights and
expressive shading; his delicacy of
touch brought out runs of rippling
smoothness, and a wealth and variety
of feeling in quiet passages, such as
the andante closing the first move
ment. There seemed some hardness
in the louder passages Of what cor
responded to a scherzo. but some of
this probably lay in the music itself;
he was vigorous, but not hard in the
final outburst.
In his explanatory comment Walter
Damrosch might have been thinking
OF labor troubles not long past among
the orchestra when he quoted Won
Buelow's Interpretation of the finale
of the Beethoven Symphony; the mu-
sicians suddenly introducing a dis
cordant note by demand for higher
salary, harmony being restored when
it was granted. Mr.. Damroschs COM
ment was the chief sign, it seemed, of
Young Peoples concert. There were
at least as many elders in the au-
dience, with enthusiasm from all gem
erations for all concerned.
Meanwhile, at the Town Hall, Erika
Morini made her first appearance of
the season with Bruch's D minor con-
certo, Bach's unaccompanied E major
sonata and the usual assortment of
lighter pieces, ending with Sara
sate's Carmen" fantasie. There is
always the question, when a young
musician has shown unusual promise
in first appearance. whether he or
she can fulfill it afterwards. Such is
not always the case, but on this
occasion the young violinist was in ex-
cellent form. Her technique was as
sured, finding no stumbling blocks
while, in general her playing seemed
to have developed since her first ap-
pearances, and she seemed to have
acquired greater poise, more mature
style, as shown in calmar passages
such as in the olenlng adagio of the
Bruch concerto. Here and elsewhere
her tone was clear and smooth, firm
and steady in harmonics, while re-
tanning its clearness in passages of
fireworks, where in this regard the
average 'violinist is apt to fail. Several
encores were given, while many
vanished. Carl Lamson was the
pianist.
1t might be suggested that an extra
door or two be used st the Town Hall
for admission to Saturday or Sunday
afternoon concerts. AS it is, an audi.
ence is apt to meet subway conditions
around the present narrow entrance.
In the evening, at the same hall, q
concert was given by the Societa M
S. Sancataldesi, which draws its name
from the Sicilian town of San Cataldo
for it's benefit fund, with piano solos
by Lynne Rothmann, and songs anc
arias by Inez Church, Charlotte Horo
WITT, Rita Roxas and Emilia Sapienza
Messrs. Leon Carson and EMO Sera
fini, with Emilio Roxas and Ernestc
de Curtis as accompanies, and ar
audience largely of the societys com
patriots.