The New York herald., 1922-10-30
Symphony Society
Plays Saint-Saens
Animal Fantasy
DamrOsch at PianO-Miss Isa
Kremer Interprets Songs
in Carnegie Hall.
BY w. j. HENDERSON.


Camille SaInt-Saens was a wag. He
composed away back in 1885 or 1887
piece for instruments called lie Carni-
val des Animaux Grande Fantaisie Zoo
lcgidue" lie made a secret OF the work.
Soon after It's composition 1t was given
in Paris for the benefit of the violinist,
Lebouc Subsequently il was done onty
in private till after the composer death,
when 1t was found that his will per-
mitted unrestricted performance. Ga
briel Pierne produced II at Colonne
concert in Paris on February 20 or this
year. 1t was heard for the nrst time
here at the opening concert OF the SYM
phony Society, Walter Damrosch con-
ductor, In Aeolian Hall yesterday after
noon.
The composition is written for two
pianos, which are the chief agents in
publishing the musicians ideas, and for
two violIns, VIOLA cello, bass. flute. pic
colo. clarinet. harmonica and xylophone.
Yesterday all the strings of the orchestra
were used. Rene Pollain, assistant con-
ductor OF the orchestra, directed the per-
formance, while Walter Damrosch (who
long, long ago did not dare to become a
pupil of Liszt) and Leopold Names, his
nephew, played the pianos.
The composition Is just running
series of sketches Of animals. which are
musically characterized by rhythmic and
instrumental limitations of their move
ments or their utterances. The HIST Sc
lected by the distinguished master is
delicious in itself. This Is it: '1ntroduc-
tion and royal march Of the lions, hens
and roosters, wild asses, turtles. ele-
plants. kangaroos, aquarium. gentlemen
with long ears, the cuckoo In the woods,
the bird house, pianists, fossils, the
swan finale general powwow in which
the long cared gentlemen as usual get
the last word For obviously they are
the critical asses"
The pianist in the musical menagerie
Is quite at home. Put him in a cage.
stir him up with long pole and hear
him pound Czerny on the iron bars. The
ancient villain He was a pianist him
self. Fossils? Old tunes that made
Saint-Saens tired-his own "Danse Ma
cabre." some antiquated French songs
''Partant pour la Syrie" among them.
and Rosina's una Voce." The recorder
of musical doings so seldom meets a real
outburst of riotous humor, unafraid of
unbuttoning the severe waistcoat Cor
straitjacket). In which the tonal art
usually parades, that he feels wild de-
sire to prapce gleefully through a col
umn or two emitting collegiate cheers
for this merry old grig.
But II Is necessary to be moderate
Saint-Saens's devices Of presenting ele-
plants by playing Berlioz's Dance Of
the Sylphs'' popderously on double
BASES. and turtles by presenting Offen-
bacs1's "can-can" liked slowed up movie
are pure burlesque but delicious fun.
The sweet swan song every one knows.
The fddlers and the cellists have played
it-rarely so beautifully as Lueien
Schmit played II yesterday-and Paw
Iowa has danced II. There was musical
beauty In this, In the cuckoo episode and
in the scintillating aquarium. The audi
ence had a good time. So did Uncle
Walter Dsmrosch at the first piano and
Nerhew Leopold Names at the second.
THIS piece of musical fooling ought to
be heard again.
The other numbers on the progra m
were the second symphony of Brahms.
Vivaldfs A minor concerto for strings.
arranged with the taste and Judgment
OF Sam Franko. and Liszt's first Hun
garian rhapsody.
Miss lisa Kremer. officially described
as an international bailadist." made
her debut at Carnegie Hall Yesterday
afternoon. She is Russian has aroused
emotions In numerous cities east OF the
Atlantic and has swept across central
Europe like an airplane. dropping as
sorted lyrics as she flew Her perform
ance. for such It is. can be presented
70 the reader in n few words. She is
not primarily q singer. but Is rather a
lyric elocutiontst who uses folk songs
as her medium.
platform set in the center OF the Car
negie Hall stage. She was Illuminated
not only by the footlights but also by
brilliant spotlight. She sang, de-
claimed. and sometimes shouted her
verses, employing gesture. facial play
and action TO help In her art. The
songs were OF various types. ranging
from Russian through French and Ital-
ian to Yiddish. The singer seemed TO
be confident in all her languages and
she disclosed n large amount Of skill
in suitinP her treatment OF text and
the use OF her voice to the character
OF her songs.
The rtainme-t cannot be sub
jected to- the familiar standards by
which song recitals are Judged. Miss
Kremer Is 1ot what II awkwardly
called, for want OF better name. a
"recitalst." She is an impersonator
and an interpreter. She must be ac-
cepted from her own point OF view.
Her art must be received as II is de-
signed and not commanded TO be some
thing else.
Her cleverness is great Her power
TO interest an audience is large. Her
material. however. was, so far as yes
terday'e program showed. MT OF the
best. Many OF the songs ~ere very
weak and did not we endure the length
imposed upon them by their own texts.
But perhaps the numerous Russians In
the audience found them entirely salts
flying Miss Kremer was very 5killfully
accompanied by Kurt lietzcl Josef
Cherniavsky. ccllist. contributed some
solos which did not add largely TO the
interest of the concert.