The New York herald., 1922-10-15

middle of November. II Mr.. Gallo
begins his season early in September
and continues it till the Metropolitan
opening we shall approach that ce-
lestial state in which there is opera
from summer to summer, for we may
hope that the Russian Grand Opera
Company will come in the spring and
renew for us the delights of Christ
mas Eve" and "The Tsar's Bride"
The musical season of 1929 is
now fully under way. 1t has not sent
up its balloon jib topsail or broken out
it's spinnaker, but it is reaching along
at a good ten knot gait. AS usual, J.
is going to be very rich in orchestral
concerts. The ancient and honorable
Philharmonic will contribute a lions
share to the feast of sound, and will
also parade the largest battalion OF
conductors. It would be a JOY to add
that it would also produce some new
compositions Of lasting value; but that
seems to be at least doubtful.
There will also be the concerts OF
the Symphony Society. with as many
star conductors as the Philharmonic.
Friends of music will befriend music
which greatly needs befriending, and
tIr. Bodanzky will again lead some
1orlorn hopes. The Philadelphia Or
chestra will be with us on the coming
Tuesday evening. relying on Wagner,
Beethoven and Strauss for its opening
program. Nothing new or revolt
tionary can be found in the "Meister-
singer" prelude, Beethoven's B fiat
symphony or Richard Strauss's auto
biographical tone poem "A Hero's
Life"
A new American orchestra will ask
for public consideration. 1t will be
conducted by Dirk Foch, who Is not
unknown here but who Is thought
never to have had opportunity to dis
close the whole measure Of his ability.
That some other orchestras will come
from other cities Is certain. New
Jersey is going to have a symphony
organization, and we are promised
three concerts by II. Cincinnati has a
newly imported conductor. New York
will have to behold him, 1t is most
probable.
One thing forces itself upon the
music lovers mind at this time,
namely. that nothing in the line of
new compositions is put forward as
demanding his interest or enthusiasm.
He is still invited to consider the
glories OF Stransl1y, Bodanzky, Men
gelberg, Coates, Stokowslu, Damrosch
and Walter.
It may be regarded as encoura ging
that so many chamber music Or
ganizations are appealing for public
support. Doubtless some cxaggeration
is mado in the estimates of the "cnl-
tural" value Of chamber music, but
there can be no question that earnest
attention to it's performance is one of
the surest methods of developing a
real understanding of the art OF mu-
steal composition.
Since the ancient chant gave way
10 polyphonic writing the whole art
OF music has rested on the laws of
harmonized msiody. Modern music
consists Of this harmonized melody.
Only the wholly unmusical mind is
capable Of thinking Of a tune as dis
sociatcd from its chords. When con-
trapuntal effects are introduced into
musical work they may be either
initiative or contrasting--or. as II is
technically expressed, "free."
But in the final analysis the basis
of modern music is a tune forming
the governing part Of four part har-
mony. The string quartet exposes this
form more clearly than any other
form can. The piano leans always
toward the disguises of passages, dec
orative arabesques, ponderous chord
effects. The violin accentuates the
melodic solo at the expense Of the
harmony. The solo singer demands
attention to the sensuous glory of the