The Washington times., 1926-04-19

NdbIOIIdI SdpIld1.
The orchestra is composed of 80
of Washington's leading artists.
The personnel establishes the sub.
stantial foundation OF this new en-
terprise which has for manager
Mrs. Wilson, Greene, concert man
ager Of the city, and for chief pro-
moter Mrs. Walter Wilcox, through
whom a guarantee fund for this
initial" concert has been secured.
A famous singer. Richard Bone1li.
rich voiced baritone of the Chicago
Opera, an artist in the prime Of life
and of career, is the soloist.
The program guarantees AN after
noon devoted to the best in music.
It also offers that vivid dramatic
quality that makes music-to those
who viii seek joy from its great
emotional drama-more stirring,
more satisfying than any other
form of art.
Liszt's Tone Poem of Life
Let's look into that program for
moment
Mr.. Hetze1 has chosen, for the
orchestra. Les Preludes," that fine
Symphonic Poem" of List; the
lovely Fifth Symphony in E minor,
OF Tschaikowsky; the "Tannhauser
Overture" of Wagner.
Mr.. BonelI will sing with orches-
ira the famous aria Fri tn" from
Ver6i's opera, THE Masked Ball"
an aria made famous by Titta Ruffo,
by DeLuca, by the great Battistini.
He will also sing a group of songs,
with piano, the "Liebesfeier, of
Weingartner; "Es blinkt der Tau.
of Rubinstein; "Danse Macabre," of
Saint-Saens, and ''Tarantella Napoi-
tana." Of Rossini.
The "Preludes" of Liszt bespeak
life in tone to a remarkable degree.
Liszt wrote this major work for
orchestra in what is called free
FORM" not binding the music to any
strict symphonic model. but letting
it-as true program music-interpret
The poem Of Lamartine. from his
'Meditations Poetiques' which,
Translated in prose, Is as follows:
rs our life aught but series
of preludes to that unknown chant,
whereof death intones the first
solemn note? Love forms the mag
zeal aurora of all life: but whose
may be the lot wherein the first
raptures of happiness are not III
terrupted by some storm of which
the baleful breath dissipates his
fair illusions, of which the fatal
lightnings consume his altar; and
what sorely wounded soul is there
which, emerging from such a
tempest, does not seek repoSeful
oblivion amid the soothing calm of
pastoral retreats?
Nevertheless. man but seldom
resigns himself long to. the enjoy
ment of the beneficent tepidity
whose charm welcomed him to
natures breast; and when The
trumpet call to arms shall ring
OUT he rushes to the post of
danger, whatever be the war which
summons him to the, ranks, that
in and through the combat he may
regain full self-consciousness and
the full command Of his powers"
Great Music For All Of Us
To each one, according to his
own thoughts and experience, may
such music apply. Not that it's
mere beauty may not alone entlce
one. but it mounts to greater
heights has more reason in the
placid pastoral. or in the thunder
ing emotion, with rhyme and rea-
son" beneath the big symphonic
form.
The Tschaikowsky Fifth" holds
double interest to- one who would
look beneath the surface. In time
of composition 1t lies between the
deeply national Fourth and that
greatest OF all "Laments" the
stirring Sixth, which is the ''SyEl-
phony Pathetic" called so by
Tschaikowsky, himself.
The fifth holds sadness, too.
Yet within it. for the lighter mood
there is A charming waltz move
ment that again brings Russian
life and glow into that curious
blend Of melancholy, that is the
temperament of this mystic, child
like people.
Tannhauser. Wagner's great
opera Of sacred and profane love,
brings us the huge surge of or
chestra Of the Sage of Bayreuth.
and two opposite poles in music.
To Elizabeth. whose Prayer" is
one of the solo gems of the opera,
ITannhauser gives his reverent
homage. to that haH-mythical