San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-04-20
Ten Operas Selected
for Metropolitan Season

the upstate New York city has al
ready gone far.
While it is not yet as satisfactory
as it will become in balance of tone
and nuance, the personnel is highly
efficient and the spirit is refreshing.
And there were moments when the
listener was highly satisfied with the
tone quality and precision. Mr..
Coates conducted with his accustomed
zeal, while the soloists of the occasion
Guy Maier and Lee Pattison
again demonstrated their pianistic
qualities i'm Leo Sowerby's boisterous
Ballad.
Fairbanks and Music.
| Everybody knows the athletic ten
denotes of Douglas Fairbanks, but
until a few afternoons ago we were
not aware that he likes good music.
That information was gathered while
we sat in a parterre-box, during
New York Philharmonic Orchestra
program. with n party which included
Fairbanks and Mrs. Fairbanks, better
known to motion picture patrons as
Mary Pickford.
During the performance Of Ernest
Seedlings A Victory Ball fantasia
Fairbanks sat leaning forward intent
~. his face indicating expressively
the effect made upon him by the vari-
Gus portions of this colorful. work.
When Conductor Mengelburg finally
put down his baton, Fairbanks turned
swiftly. and began TO comment on
some of the vital sections of the score
and how he had been affected by
them.
In nearby boxes there were evil
dences of similar appreciation on the
part of Willem Van Hoogstraaten, CO.
conductor with Mengelberg of the
Philharmonic; Ernest Hutchinson, Vic
tor Herbert Rubin Goldmark, Howard
Brockway. John Philip Sousa and
Paul Whiteman.
Music Galore.
The Lenten Season never seems to
slow up New York's music activities.
In addition TO the six regular weekly
opera performances at the Metropoli-
tan we have had some extra offerings,
and with the Philadelphia Orchestra.
the two final 1923-1024 appearances
of the Boston symphony and programs
by both the Philharmonic and the New
York Symphony organizations there
has been music galore.
Nor has the stream of recitals les
sened materially. The great, the
good and the not-so-good have APP
peared and disappeared. 1t is task
trying to keep q schedule of the
places and times of all the music af-
fairs hereabouts. and a still more diff
ficult task to digest what is heard.
But there have been some high
lights. There was Fritz Kreisler's
concert, and the one offered by Jascha
Heifetz-two fiddlers Of widely con-
trasted types. And there came also
the digitally expert, Moriz Rosenthal,
whose pianistic accomplishment are
taking on real color.
Percy Grainger's vital pianism, and
the polished art of Emo Dohnanyi
likewise attracted attention. There
were some other efforts by musicians
not so well known, but they were
trifle feeble in comparison with their
more gifted and experienced con-
ireres.
Some Scriabin Color.
We went from the farewell New
York appearance of Pierre Monteux
as conductor of the Boston Symphony
TO the home of Rachel Crothers. the
playwright. There had been a Scria-
bin symphony in the final program
Offered by Monteux, and superbly
played by the now superlative Boston
organization. 1t was interesting there
fore, to approach some more Scriabin,
which Ruth Heyman was to give
through the medium Of a piano prior
to presenting them publicly in recital.
Sir Paul Dukes. who knew the Rus
sian composer when both were resid-
ing in Petrograd, prefaced the Scria-
bin compositions by n story of his
characteristics and accomplishments.
Works reflecting the composing done
by this master at the three distinct
periods of his creative life were played
by Miss Heyman. The latest ones
put considerable of burden upon the
listener, for the Scriabin of that day
went far afield into ultra-modern COM
position.
Copyright. 1894. by P. v. r. Key.