THE NEGRO'S CONTRIBUTION TO AMERICAN MUSIC

our eyes were then opened as never before, not only to the Negroes'
ability, but to the importance of the step that the School had taken in
appealing to the higher nature of the colored people through their own
talent and in helping them to turn that talent to the good of our whole
country. For music is certainly one of the distinct contributions that
the Negro has to offer to our American life.

It was an astonishing sight, that Negro orchestra (a sort of Ameri-
can "Balalaika") that filled the entire stage with banjos, mandolins,
guitars, a few violins, violas, celli, double basses, here and there a wind
instrument, some drums, eloquent in syncopation, and the sonorous
background of ten upright pianos corresponding in efficiency to the
cymbalo of the Hungarian band. Europe uplifted his baton and the
orchestra began (with an accuracy of "attack" that many a greater
band might envy) a stirring march composed by the leader. It was
the "Pied Piper" again, for as one looked through the audience, one
saw heads swaying and feet tapping in time to the incisive rhythm,
and when the march neared the end, and the whole band burst out
singing as well as playing, the novelty of this climax—a novelty to the
whites, at least—brought a very storm of tumultuous applause. After
that, the audience settled back with a broad smile of enjoy-
ment.

MOST of these Clef Club men play by ear; two-thirds of them
could not read a note when they first joined the organization.
They have "picked up" the ability to play an instrument, and,
like the Hungarians and the gypsies, when they have caught the melody,
they are quick to catch by ear their own orchestral parts also, or even
to fill in and improvise the harmonies,—but always subject to the crit-
icism and leadership of the conductor who corrects and drills his
musicians carefully at rehearsals. These Negro players who sing
also, think nothing of playing a bass part and singing tenor at the
same time or of playing alto and singing bass! Yet these are men
with only odd hours for practise,—many of them being waiters, port-
ers, elevator-boys, barbers, employees or tradesmen of different
kinds. Even as the Negroes in the South sing naturally in four part
harmonies at their work in field or factory, so too these Negroes in the
North almost equally untrained musically, play and sing by virtue of
sheer natural ability.

The program on May second was made up entirely of the modern
work of Negro musicians, most of the composers taking part in the
performance. There were in the audience many of New York's best
white musicians and also contributors to our Philharmonic and Sym-
phony Orchestras; and the musical editors of the New York papers

664

had come in order to give this enterprise serious consideration. Never
before had the Negroes had such an opportunity.

An example of what the educated Negro can achieve is furnished
by the career of Samuel Coleridge-Taylor, a British-African mulatto
who lived and worked in England and whose recent death in the
thirty-eighth year of his age is mourned abroad as a loss to the Eng-
lish musical world; for Coleridge-Taylor was not only a composer of
eminence but was a professor of composition at Trinity College, and
conductor of the Handel Society, a prominent English choral organiza-
tion. In an obituary notice the London Telegraph describes Col-
eridge-Taylor as "one of the foremost of English composers of the
present day . . . undoubtedly the first person of Negro birth to
achieve fame as a creative musician." His greatest work, a choral
trilogy called "Hiawatha" is said to have "brought a new 'note' into
English music." Coleridge-Taylor studied at the Royal College of
Music in Kensington, and at eighteen years won a scholarship in
composition; three years later a symphony by him was produced at
St. James Hall under Sir Charles Stanford's direction, and a work for
clarinet and strings was performed in Berlin by the Joachim quartet.

He never visited West Africa, his father's native country, yet he
had a strong belief in the musical instinct of his people, and a keen
interest in Negro songs. He composed some African Dances, an
African Suite for the piano and an orchestral Rhapsody on Negro
themes, written for the Norfolk Festival in Connecticut in nineteen
hundred and ten. But though he had talent, Coleridge-Taylor had
not the background of cataclysmic human experience of the Negro
in this country, an experience which has charged the folk-song of the
American Negro (even as oppression, pain and struggle have colored
the folk-song of the people of Russia) with a wealth of pathos, longing
and aspiration. No American Negro can be placed in the same class
with Coleridge-Taylor as regards scholarly musicianship, yet the
Negro in this country has a message that the British-African could
not give—a message that sings the struggle of a race from darkness
into light.

THE present impetus toward an appreciation of our own Negro
folk-music was undoubtedly given by the sojourn of Dvorak in
New York, and by the emphatic words of the great Bohemian
who wrote that the "so-called plantation songs are indeed the most
striking and appealing melodies that have yet been heard on this side
of the water."

Those who knew Dvorak in this country link the recollection of
him with the thought of Henry T. Burleigh, one of our foremost

665

## THE NEGRO'S CONTRIBUTION TO AMERICAN MUSIC

Negro musicians. Burleigh was educated at the National Conservatory in New York, and was still a student when Dvorak came to America to take charge of that institution. The talented young Negro greatly interested the Bohemian composer, and it was partly through contact with Burleigh that Dvorak became familiar with Negro songs, incorporating their rhythmic and melodic characteristics in compositions of his own which he hoped would point a path to the future development of a national American music. The "Symphony from the New World," and the so-called "Negro" string-quartet which were written to this end, are filled with suggestions of the composer's study and appreciation of Negro melodies and of the association of the great master with the young colored student.

A pioneer for the Negro's right to enter the field of serious art, Burleigh has worked for years in New York, never sinking his high standard, never doing anything that would compromise his dignity as a musician, never allowing himself to be beaten back by prejudice. Quietly, unassumingly but firmly he has maintained his hard-earned place among professional musicians. For many years he has been baritone at St. George's Episcopal Church on Stuyvesant Square and is now also a member of the choir at the Temple Emanu-El on Fifth Avenue.

Though Burleigh has made two small collections: "Plantation Melodies, Old and New," and "Negro Minstrel Songs," and has also written songs of his own, he is best known as a singer, and particularly as an exponent of the old slave songs. Realizing the beauty of these melodies Burleigh has always placed them on his programs, striving to make white people and black appreciate this folk-music of America; for the Negroes of today, especially those in the North, have turned from the songs that remind them of their former subjugation and of the present race ostracism, and Burleigh rightly feels that in losing the old plantation melodies the colored people are throwing away their best musical asset. It is indeed doubtful if any Negro music of the future can ever equal in simple beauty and depth of feeling that of the past.

Another important figure among our colored musicians is Will Marion Cook, chiefly known as the clever composer of light opera music and vaudeville sketches; for none of the publishers would take the better things that Cook had written. It was at the concert mentioned above, that some of Cook's manuscript compositions were first heard by white people, and then a new place was won for the composer.

In listening to these better works of Cook, one involuntarily recalls Shakespeare's words: "This above all, to thine own self be

666

true." It is truth to his race that stamps Cook as another of the pioneers in the artistic efforts of the Negro, lifting his work beyond an expression of musical talent alone, and making it prophetic of a larger development of the Negro people in music.

WHILE the song of the American Negro has been from the beginning the simple expression of a naturally musical folk, it was to the illiterate laborer of the plantation the one great outlet for his thoughts and feelings. In his music the Negro poured out his sufferings and his aspiration, his patient submission to the bondage of this world and his vivid hope for the world to come. His song was also his recreation and his joy; it lightened his toil, inspired his dances, accompanied his games, enriched the story-teller's narrative, and embodied all the sports and pastime of a childlike people. This music, so full of pathos, religious devotion and emotional power on the one hand, and on the other, so overflowing with humor and irresistible spirit, is the heritage of the Negro composer of today.

And Cook has had the imagination to see and to feel this. His music is the conscious response to that same unconscious musical impulse through which the very soul of his race found voice, and he is justly proud of the upward struggle of the freedman. Though his compositions so far, are little more than an indication of the larger work that he might do, he is already seeking to interpret the character of his people in music, and to carry the untaught musical language of the Negro into the realm of art. And everything that he writes is true in melody, rhythm and form to the racial utterance, so that his music, even in its most external aspect, is distinctive and characteristic. A love of strong, rich harmony, a keen dramatic sense, and a restraint that avoids excess are all qualities that help to round out and balance a highly-gifted nature.

The music of Cook and also some of that by J. Rosamond Johnson is indeed the Negro's own musical speech set to verses, some of which have the quaint mixture of crude poetry and humor characteristic of the tales of Uncle Remus. A "Negro Lullaby" by Johnson has caught in music the tender crooning of the colored "Mammy"; "Southland," an unpublished manuscript by the same composer, has for its opening theme that sublime old Negro chant "Go down, Moses," whose somber cry seems to have been wrung from the very soul of an oppressed people. In singing of the bondage of the children of Israel in Egypt the Negro felt his own, and the call:—

"Tell ole Pharaoh

Let my people go!"

has a pathos that voices the Negro's own hope for deliverance.

667

"Exhortation," a song by Cook for baritone solo and chorus is a
complete genre picture showing a darky Deacon of the old time in the
South, surrounded by his flock who make devout response to his
words. The "exhortation" by the preacher was in old days a regular
part of the camp-meeting service, and Cook has caught with vivid
humor the improvisational eloquence of the Negro preacher whose
dramatic appeal always stirred his listeners to such fervor of repent-
ance and conversion. In the "Rain-Song," also by Cook, which is
picturequely colored by humorous childlike superstition, we hear an
echo of the spirit of Negro folk-lore.

"When de frog's done changed his yaller vest,
An' in his brown suit now he is dressed,
Mo' rain, an' still mo' rain!
When you notice de air it stan's stock still,
An' de blackbird's voice it gits so awful shrill
Dat am de time fo' rain!"

And here again, the dramatic instinct which is so strong in the
Negro (as in most primitive people, and in all children too, before it is
crushed out by education) gives to this delightfully original choral
composition a vigorous freshness which sweeps to a brilliant climax
and quite carries an audience off its feet. When the Negroes sing the
"Rain-Song," the few gestures of the soloists, who rise up, one by one
from different parts of the orchestra and sing each a verse, give such a
touch of delicious reality to the supposed contrasting signs of rain and
of clear weather, that at the conclusion the listener feels quite sure
with "Mr. Simmons" that "dere aint a-gwine ter be no rain today!"

"Exhortation" and the "Rain-Song" are certainly the best things that Cook has done, so far (and these lay unpublished for years), but "Swing Along," a cake-walk, though in a more obviously popular vein, is irresistible, and "Lover's Lane" has a swaying lilt, a crooning refrain and an unexpected loveliness of harmony that haunt the listener for days.

ALTHOUGH both Cook and Johnson have received good musical
education (Cook studied at the Hochschule in Berlin, and had
violin lessons from Joachim), they have endeavored in their
better work to hold fast to the traditions of Negro music in this coun-
try influenced by the enthusiasm of Dvorak and by the example of
Burleigh. Through translating into their own form of art the life of
their people, these colored musicians have undoubtedly made a pic-
turesque and truthful contribution to our musical literature.

Not only did the concert of last spring introduce our Negro com-
posers to the music-lovers of this city, but it also proved that some of

the music was worthy of a place on the programs of white musicians. It was the Schola Cantorum of New York which took the initial step of performing in concert (with its own well-trained chorus) three dialect songs by Cook and Johnson. On the recital programs of great singers such dialect songs have already figured, but usually as arranged or composed by white people. The Schola program was devoted to works by living composers of America, and Kurt Schindler, conductor of the chorus, felt that, since these Negro compositions reached the standard of musicianship, they should certainly take their place with the works of other American composers, as they reflect a phase of life distinctly characteristic of America,—the life of the Southern plantation.

An unexpected force for better understanding between whites and
blacks has been liberated in this conscious admission of the Negro into
our musical life. Music has always sprung from people who labor out-
of-doors,—simple people who sing as they work and pray and dance.
Whether the Negroes, any of them will develop into great artists is not
the present question; what we hope is that the Negro of today shall
carry into his free industrial life in ennobling form the same love of
song that upheld him spiritually in the days of bondage and made
slavery bearable. For us, the fact is here, that the untaught Negro
has already unconsciously given to this country the elements of a type
of music that the people love, while the Negro with a little education
now gives us the promise of a development of that type. The folk-
song of the Negro has something to give to art,—something that is
original and convincing because it speaks directly from the heart.
Like all music born of the need of song in a people, it appeals to the
listener with that elemental truth of feeling in which race has no part
and humanity is one.

If anything can bring harmony from the present clashing of the
two races during this difficult period of problem and adjustment, it
might well be the peace-giver—music!

As this article goes to press another concert of Negro music is
announced to take place in Carnegie Hall on Lincoln's Birthday,
when a great chorus will sing in commemoration of the Emancipation
Proclamation the beautiful old slave song whose burden runs:

"Oh freedom, oh freedom over me!
And before I'll be a slave
I'll be buried in my grave
I'll go home to my Lord
And be free."

668

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Tuesday Afternoon, February 16, 1915, at three

DUET RECITAL by
CHRISTINE MILLER
Contralto
AND
GEORGE HAMLIN
Tenor

C. V. BOS at the Piano

PROGRAM

I
Nur wer die Schausucht kennt... { Schubert
Licht und Liebe ... }

Miss MILLER and Mr. HAMLIN

II

Nichts ... { Das Geheimnis ... } ... { All' mein Gedanken ... } ... { Hoffen und wieder verzagen ... } ... { Wie sollten wir geheim sie halten ... } ... { Mr. HAMLIN ... } ... { Strauss ... }

Program continued on next page

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DAY OF THE DAY WAS
R FACE

H. T. Burleigh

If the day was in her face,
the night was in her eyes,
and her loveliness, the grace,
and her blushing in the early skies.

voice the calling of a dove
of a sweet melodious part
smile the breaking light of love
the gentle virtues in her heart.

The glorious day, the beautious
that signal to their mates at

ears, to my tear-blind sight
with all the dead, since she has

James W. Johnson.

R

H. T. Burleigh

night love better for your sake,
and care though you should love

more than to consent to take
and not give you happiness,
were happier if you loved me

er, happier, if I lov'd you less,
though each day,

the day before you love me,
you more and more each day!

Arthur Symons.

A. BIMBETTA

Gabriele Sibella

TITTLE FAIRY

le fairy,
the cricket singing,
pop so airy
bringing.

mney nook to rafter
soft discloses
they dance and laughter,
sop'ning roses.

the, give me any
answer from thine eyes;
at but many
of mock surprise.

thou tell me never
secrets in thee hover?
thou frown forever
foolish lover?

nee but sadly,
thou wilt disdain me;
2 madly, madly;
it sweet pain to me?

From A. Fumagalli.

LYCEUM THEATRE

KITTY CHEATHAM'S

ANNUAL
EASTER RECITAL

Monday Afternoon, April 5, 1915

AT THREE O'CLOCK

The New York Press
Published Every Morning at 7 P. M. Street.
Telephone 1000 Bixby.

MISS MILLER SINGS
WITH GEO. HAMLIN

Appreciative Throng of
Music Lovers at Co-op-
erative Concert.

BOS AT THE PIANO

Kathleen Howard Charms Eye
and Ear in First Recital
in New York.

At their co-operative concert yesterday afternoon, Miss Christine Miller and George Hamlin, assisted at the piano, by Conrad V. Don, gave piquante and appreciative orchestration of music for the other in English; together with Miss Schachtel, Miss Schachtel, "Licht und Liebe," "Sainte-Mass," "Le Sol et de Liebe," "Sainte-Kate," "The Trust" and "Agnes" and Brahms, also have Miss Schachtel been heard in Schubert's "Wer nur de Schauschicht," "Kennit" and "Licht und Liebe."

Though Miss Christine Miller calls herself a contralto, it may well be questioned what the Day, "Licht und Liebe" class of singers. Her sympathetic and dolly resonant tenors have considerable power and body, to be sure, but their natural texture and timbre especially in the contralto and there can be little doubt that she would achieve better results, despite her experimental limitations, if she should school herself accordingly, raising the quality of her voice.

Fernanda Miller was at her best in Euro-Woof's "Bank de Paris," which she delivered with vocal power and dramatic emphasis. She might have been equally successful, however, in Sainte-Mass's "Martenwursern" and Gustav Mahler's "Hanssens Reise," if she had sang double members with daintily and with less dynamic force.

Hamlin Sings Strauss.

Dance-music in better form when she gave his last recital in New York. Her Hamlin sang effectively a group of Strauss pieces, including "Nights," "Das Hohlen und wider verzaubernd," "Wus sollten wir gelten sie hielten," to which she added "Revelation" and "The Adore" an encore; two manuscript songs by Miss Burleigh. "The Glory of the Day Was in Her Face" and "A Prayer," of which the first proved particularly pleasing. "The Adore" and "Sonnena's Olimbina."

Whether he gave too much attention to musical resonance is open to question, though that tendency probably was not responsible for the false intonation in the Sainte-Mass dust. Doubtless, how- ever, the American tenor could add something to his interpretative quality by listening how to vary his facial expression, in accordance with the plastic images conveyed in words and music.

The New York Tribune.
First to Last—the Truth: News—Editorials—Adver-
sements.

WEDNESDAY, FEBRUARY 15, 1915.

SONG RECITALS
WELL RECEIVED

Two Audiences Listen to Per-
formances of Songsters at
Aeolian Hall.

Each of the two sang recitals in yesterday's musical world. Miss Christine Miller's and George Hamlin's afternoons, and Miss Katharine the ady, in the evening, brought forth to Aeolian Hall audiences of almost all the more music the public gets the more it earns willing to absorb, and it is evident that the season's point of saturation is not yet. Both Miss Miller and Mr. Hamlin are well known to New York, especially in the exterior world, though Mr. Hamlin has of late been straying in the opera-pastures of the West.

Mr. Hamlin was in better voice than Mr. Hamilton yesterday, for the tenor's force passages in his upper register were often bars and standard. Yet, he sang with taste and in measured, with considerable richness of timbre. Miss Miller's voice, especially in the middle and lower registers, was vibrant, and the song with feeling and remarkably clear definition in her Schumann, "Sang, among which were "Mit Delen Blumen Augen" and "Huge Welz' Dark Blumen Augen."

Two delicate little songs yet heard in Harry Burleigh's "The Day Was in Her Face," and "A Prayer." They were two of the most malesional to be heard this season from the American composer, and the fact that race does not make us the slave of the season. Miss Miller and Mr. Hamilton sang together Schubert's "Wer nur die Cellos" and Robert Kahn's "Trust and Agnes."

Miss Howard is well known from her appearance as a member of the Century Opera Company. Her voice has not only sounded fresher than it had on the opera stages, though it still is the least of uniformity of timbre. Yet the least of uniformity of timbre, she displayed a good deal of interpretative power in such songs as "Der Senees," "Welz" and "Eugene," and "Der Senees" was a very masterful of exaggeration. Her audience was most responsive.

opera-groß "Die groe-

Two recitals, both in Aeolian Hall, complete the musical record for yesterday. In the afternoon, Miss Christine Miller and George Hamlin undertook, together with the programme, termed a "duct recital," to be given on the afternoon of the programme. By Schubert, by Saint-Saens, by Robert Kahn, and by Brahms. But there were also groups of solo pieces for each singer. Mr. Hamilton included a group of songs by Richard Strauss, a composer for whose songs he did valiant missionary work some recently written were two very good ones, in manuscript by H. T. Dur-ich, and a beautiful "Nocturne from the pen of that aged young

The

Sun.

WEDNESDAY, FEBRUARY 17, 1915.

Received at the Post Office at New York as
Second Class Mail Matter.

TENOR AND CONTRALTO
SING IN JOINT CONCERT

Hamlin and Miss Miller To-
gether—Miss Howard
Is Heard Too.

Whether it is that the concert field is so crowded that there is no longer room for adjectives to advance in single file or that some other filler moved them, George Hamlin, tenor, and Christine Miller,opravera, appeared in a joint concert of songs in Aeolian Hall yesterday afternoon. This union of half a dozen sopranos, half a dozen tenors, half a dozen baritons moved them, and the concert was a success. The two singers sang Schubert's "Wer nur die Schauschicht," "Kennit" and "Licht und Liebe."

The two sopranos sang Schubert's "Wer nur die Schauschicht," "Kennit" and "Licht und Liebe," and the two baritons sang the programme. Mr. Hamilton said, "The Overture of the Water" was a success, written for him by Componist, Victor, and was a great success. Mr. Hamilton ended the concert with "Licht und Liebe." Miss Miller and Mr. Hamilton sang together Schubert's "Wer nur die Cellos" and Robert Kahn's "Trust and Agnes."

Miss Howard was well known from her appearance as a member of the Century Opera Company. Her voice has not only sounded fresher than it had on the opera stages, though it still is the least of uniformity of timbre. Yet the least of uniformity of timbre, she displayed a good deal of interpretative power in such songs as "Der Senees," "Welz" and "Eugene," and "Der Senees" was a very masterful of exaggeration. Her audience was most responsive.

Mr. Hamlin and Miss Miller were in good speaking and good command. The voice was not only a good one, but the listed tenor was a fine one.

In the second half in the evening Mr. Howard, contract, recently a member of the Century Opera Company, sang "Uppop " and "Sonne der Oase." "Uppop " and "Sonne der Oase" were two duets from the programme.

The programme of most of the things that the singer might wish to hear was not a good medium with which to make known. Downy, how- ever, the American tenor was not responsible for the false intonation in the Sainte-Mass dust. Doubtless, how- ever, the American tenor could add something to his interpretative quality by listening how to vary his facial expression, in accordance with the plastic images conveyed in words and music.

LYCEUM THEATRE

The New York Times

"All the News That's Fit to Print,"
EVERY DAY IN THE YEAR,
BY THE NEW YORK TIMES CHURCH
OF GOD,
AND, OUR FABULOUS
PRESIDENT,
W. R. FARRIS,

A DUET RECITAL.

Miss Christine Miller and George Hamlin Appear Together.

Rummbling out of the ordinary in the way of song recital was offered by Miss Christine Miller and George Hamlin in a concert which they gave together yesterday in Aeolian Hall. Under the selection of solo engines, which each offered, a considerable part of their programme consisted of duets. The public performance was most satisfying, and, as unexceptional at this time as to offer itself almost a new experience.

Several of the duets were in the first place of the year. "The Four Pages," which was one of the four duets, are a current choice for setting as a duet, the music covering their entire range. "The Four Pages," while it has been described as "dull and monotonous," is in fact a most interesting duet, and the two duets, which are, of course, the duets of the duet writers.

Miss Miller, who is not well known to the public, was one of the first to appear in a series of german songs by Albert von Schubert, and was recently added one by Roder. Her richness and originality, and the clearness of her phrasing and expression, are the

Alfredo Carpentier, Horace Parker, A. de L. Bement, and Arthur Whiting. The two duets were written by Miss Graham's songs in the first series, and were first introduced into America by the late Mr. Hamilton.

Mr. Hamilton was one of the first German singers to appear in America, and was first introduced into America by the late Mr. Hamilton. He sang a group of five, some of which were among the most famous of the German singers, and made it a great hit by adding the new German songs to his previous German repertoire. He has been very successful in his early years, and has been very well received by the German public.

W. B. CHAP.

The Globe
of Boston
ADVERTISER.

1915—ESTABLISHED—1915

NEW YORK, WEDNESDAY, FEBRUARY 15.

Music.

Dancing and Singing of a Day—
Operas Next Week.

A short ballet entitled "The Seven Daughters of the Ghost King" was given at the Century Opera House last evening. It was presented for the first time in America. Miss Pevline is said to be responsible for the scenario, and Alexandre Pen-darrow for the music. The seven daughters, who had been guarded by their father in an inaccessible fastness, are at last discovered by a certain Prince Hassan and his knights. The father retires to a magic fire to destroy the knights. One daughter (it is not hard to guess which one), left decapitated, dies, the malady of her taking off being a dance of death.

The ballet is brief: the scenery, costumes, and music have sufficient life and originality to make the quality known in studio sland amassing. Miss Pevline, of course, did some exquisite dancing. And, so the Century audience accepted gladly. The seven Daughters of the ghost King, even though the stage effects on the initial appearance did not move without a bit, were very much enjoyed by the audience.

Two scenarios, both in Aeolian Hall, complete the musical record for yesterday. In the first, Miss Christine Miller, the second, Miss George Hamilton, sing the duets together. The programme, together with the pre- sented duets, was very successful. There were duets on the programme, by Schubert, Robert Kahn, and by Brahms, by whom there were also groups of each singer. Mr. Hamilton claimed a group of songs by Richard Strauss, a composer for the stage, who did valuable service to the songs in manuscript by H. T. Dürk- legh, and a beautiful "Necromans" from the pen of that gifted young

The Evening Post.

New York, Wednesday, Feb. 17, 1915.

Duets for Soprano and Tenor.

A few years ago two of the most em- pient German singers gave a recital, in Carnegie Hall, of duos, including Brahms's superb "Edward," which is equal, if not superior, to any of his solo songs. The effect was thrilling. Opera goers remember with equal pleasure the delightful singing of the letter due in Monaràs "Figaro" by Emma Ennes and Maria Rembuck. The public enjoys duos immediately; why, then, are so few opportunities provided to hear them?

It is to be hoped that the lot of the duet given in Aeolian Hall yesterday after- noon by Christine Miller and George Hamlin may help to set the fashion for the more frequent singing of duos. It cannot be said that they displayed particular good judgment in the selection of their numbers, suitability to their voices having occasionally had to do with it than excellence of the music; but, the merits of the execution to some extent made amends for this shortcoming. That Rubinstein's melodious and impressionable duets were overlooked is most surprising. The best of the duos listed were "Nur wer die Sehnsuchtskennt," and "Licht und Lied," by Schubert, and Saint-Raima's "Le Seul descend sur colline." Miss Miller, who has an agreeable voice and a good delivery, also sang a number of songs alone, and so did Mr. Hamilton, who is needless to say, gave a group of those Strauss songs which he was the first to present in this city. Insistently. Among his other sales, duets were two songs by that remarkably talented colored singer and composer, Harry T. Dürk- legh, who was a pupil of Dr. Dürké at the National Conservatory.

Other Americans represented were John Alden Carpenter, Horace Parker, Walter Kramer, Sidney Homer, and Arthur Whiting.

LYCEUM THEATRE

AT THREE O'CLOCK

Steps of Competition.
Championships Nearing Final

The Evening Sun.
WEDNESDAY, FEBRUARY 17, 1915

Whether it was to-day's penitential
season, or just natural resignation,
the customary eight concerts didn't take
place in New York yesterday. There
were only two, both by coördinates
and one with a tenor for accompani-
e. At Molten Hall's matinée, George
Hamlin earned his strains "seren-
dade" encore, for he was one of the
first to sing Brahms here years ago.
Two new manuscripts, "The Glory"
and "A Prayer," by H. T. Burleigh,
were the best novelties yesterday.

"Cried in cloth of gold and silver, with
peakshoof pink efforts and a rakish
jab of back for a hat, Christine Miller
was heard for the first time in re-
cital. She falls from Pittsburgh and
has sung here in oratorio. Besides her
duette with Mr. Hamlin, including two
of Robert Kuhn's, she was happy in
Kramer's "Nocturns," and "The
Honeys" of Perry Me across the Water,"
to which she added Mrs. Louise
Honeys' jolly encore, "I Don't Care If
They Do." The younger Pittsburgh
contralto gave at times a remarkable
imitation in color and velocity of
Germaine Farrar.

With while, offering down that re-
garded a famous Amner's costume in
"Aida," Kathleen Howard sad the
stage to herself at the National
opera artists have shown more intelligence
in approaching the new field of re-
cital.

W. B. Cruz

The Globe
Comedy's
Advertising.

1713-ESTABLISHED-1915

NEW YORK, WEDNESDAY, FEBRUARY 17, 1915

Music.

A short ballet entitled "The Seven
Daughters of the Ghost King"
 Varied the programme of Miss Pay-
 lowa, at the Century Opera House
 last evening. It was presented for
 the first time in America. In the
 program in said programme, Mr.
 the scenario, and Asakagei Spon-
 claros for the ukulele daughters,
 who had been guarded
 by their father in an incredible
 fastidiousness, are at last discovered
 by a certain Prince Hanzam and his
 daughters. The father resorts to
 magic fire to destroy the knights
 One daughter (it is not hard to guess
 which one), left decapitated, dies,
 the malady of her taking off being a
dance of death.

The ballet is brief: the scenery,
costumes, and music have sufficiently
the quality known in studio sland
as "amusing"; Miss Paytow, of
course, did some exquisite dancing.
And so the Century audience ac-
cepted gladly "The Seven Daughters
of the Ghost King," even though
some of the stage effects on this in-
tial occasion did not move without a
bitch. The programme included also
"Tuppen-Fee" and a group of diver-
sements.

Two rectangles, both in Aeolian Hall,
complete the musical record for you-
terday. In the afternoon
Miss Christine Miller and George Hamlin
undertook together what the pro-
gramme termed a "Duet, rectal." There were duets on the programme,
by Schubert, by Salat-Sabas, by
Robert Kuhn, and by Brahms. But
there were also groups of sole pieces
for each singer. Mr. Hamlin in-
cluded a group of songs by Richard
Streusen, a composer for whose sons,
he did valiant missionary work some
years ago. Notable among some
recently written were two very good
pieces. In manuscript by H. T. Dur-
leigh, and a beautiful "Nocturne"
from the end of that gifted young

The Evening Post.
New York, Wednesday, Feb. 17, 1915.
by wire.

Duets for Soprano and Tenor.

A few years ago two of the most emi-
nent German singers gave a rectal, in
Carnegie Hall of dixi, including
Brahms's superb "Edward," which is
equal, if not superior, to any of his solo
songs. The effect was thrilling. Opera-
gers remember with equal pleasure the
delightful singing of the letter-duo is
Mona's "Fary," by Emma Names and
Marcia Sembrich. The public enjoys
duo immediately; why, then, are few
opportunities provided to hear them?

It is to be hoped that the joint rectal
given in Aeolian Hall yesterday after-
noon by Christine Miller and George
Hamlin may help to set the fashion for
the more frequent singing of duos. It
cannot be said that they displayed par-
licularly good judgment in the selection
of their numbers, suitability to their
voices having occasionally had more to
do with it than excellence of music,
but the merits of the execution to
some extent made amends for this short-
coming. That Ruhmann's melodious
and impromptu duets were overlooked
is most surprising. The best of the du-
lies listed were "Nur wer die Sehaus-
kent" and "Licht und Liebe," by Schu-
bert, and Salat-Sabas's "La Scausade"
sur colisse." Miss Miller, who has an
agreeable voice and a good style, also
sang a number of songs alone, and so
did Mr. Hamlin, who, it is needless to say,
gave a group of those duos songs
which he was the first to present in his
city instantaneously. Among his other selec-
tions were two songs by that remarkable
talented colored singer and composer
Harry T. Burleigh, who was a pupil of
Dr. Dvorak at the National Conservatory.
Other Americans represented are John
Aden Carpenter, Horatio Parker, Wal-
kner, Sidney Homer, and Arthur
Whiting.

NEW YORK TRIBUNE, MONDAY, FEBRUARY 28, 1916.

MUSICIANS WAGE
WAR OF SOUNDS

Symphony Society Plays
Schoenberg's "Kammer-
symphonic."

AMATO, AT BENEFIT,
SINGS NEGRO'S SONG

$10,000 Raised for Italian War
Relief—Casals Philhar-
monic Soloist.

There were three concerts yesterday, all of which possessed features of interest—the two symphony orchestras in the afternoon and the Italian benefit at the Biltmore in the evening. The New York Symphony Society's programme was of considerable novel interest, in that it was devoted to orchestral chamber music and contained as its opening number Arnold Schoenberg's "Kammersymphonie," which had only once before been played in New York, at a private concert of The Friends of Music, when it was given by the Philadelphia Orchestra, under the direction of Leonard Stokowski. Before the arrival of Strawinsky, Schoenberg was the latest thing in music. Now that we have heard Pe-trouchka he is *vrais* *jeu*. Well, let him be so to the musical Progressista—his "Kammersymphonie" is modern enough.

Mr. Damrosch in one of his char-
acteristic addresses prefaced the play-
ing of the Schoenberg work with the
remark that it was to be taken
"neither as a joke nor a freak, but as
the logical result of certain ideas."
And he continued, much to the amuse-
ment of his audience...

"The 'Kammersymphonie' caused ex-
cruciating torture to me and to my
orchestra at the first rehearsal, but
human ears are like the back of a
mule—if you beat them enough they
become insensible to pain! I present
this work, not as a judge, but simply
for you to like it or not. Who of us
can say what limits can be set to dis-
cord?"

This very frank apologia disarmed all
cavillers, and when the symphony came
it did not seem so awful, after all. In
it there is much melodic fancy, and
when such fancy flows the symphony
is spontaneous and even delightful.
Then, again, there are pages of purely
mechanical artifice, and these, aston-
ishing as they may be in their clever-
ness, are really so much dust thrown
into the ears of the credulous. To be
ungly as a portrait of Rembrandt is,
ungly does not exclude even the most ex-
quisite beauty—but Schoenberg's ug-
iness is not the weakness of Rembrandt
—it is the mere cleverness of a some-
what mental virtuoso.

Very silent was the quiet, re-
strained beauty of Chausson's "Poème
for Violin and Orchestra," played ex-
ceedingly well by Mr. Saslavsky, with a
most admirable accompaniment by Mr.
Damrosch and his orchestra. Chaus-
son's Poème is sincere in every bar, and
is uplifted upon the wings of a poetic
fancy. The other numbers were the
Böhmmann "Symphonic Variations for
Violoncello," with orchestra, played by
Luelen Schmit; the Brahms Serenade
in A major, Opus 16, for small chorges-
tra, and the Saint-Saëns "Serenade,"
for violin, 'cello, piano and organ,
played by Messrs. Saslavsky, Schmit,
Maier and Damrosch.

The Philharmonic concert in Car-
negie Hall was also well attended. The
novelties on the programme were two
modest compositions by A. Walter
Kramer—a "Chant Negri" and a "Valse
Triste." The titles adequately explain
the works—They were straightforward,
melodious little pieces, well orches-
trated and altogether pleasing. The
solo artist of the afternoon was Pablo
Casals, who played with his accustomed
mastery the Saint-Saëns Concerto in
A minor, for violoncello and orchestra.
Mr. Stransky's purely orchestral num-
bers were the Charpentier Suite, "Im-
pressions of Italy," Reger's Variations
and Fugue for Orchestra on a Theme
by Mozart, and the "Fledermaus" ever-
ture.

The Italo-American Relief Committee
benefit in the evening at the Biltmore
drew a large and brilliant audience
and netted the fund more than $10,000.
The benefit was held under the patron-
age of the Queen of Italy and under
the auspices of the Italian Ambassador
and Countess Dolores Machi di Allere.
The artists taking part were Enrico Ca-
ruso, Victor Maurel, Pasquale Amato,
Mme. Louisa Villani, Mme. Valentina
Creepi, Paolo Martucci, Enrico Seog-
namillo, Romualdo Sapio and Salvatore
Fuetta. Mr. Caruso sang Tosti's "Ca-
melò," Bizet's "Agnes Del." Gabriele
Sibella's "Canto de Berasglieri" and
Leopoldo Musgrove's "Canto Patriot-
tico." The last two songs were given
by Mr. Caruso for the first time in
America. An interesting feature was
the singing by Mr. Amato of an Italian
patriotic song written by an American
negro.

This was Harry T. Burleigh's "Il
Giovine Guerriero," and it proved to be
the sensation of the evening. It was a
spendidly spirited martial song, and ought
to thrill many an Italian crowd
in after years. That an American ne-
gro could write such a song seems
strange indeed. It is one of the few
really admirable songs America has
produced in recent years. All honor to
Harry T. Burleigh!

Victor Maurel's art was never more
spendidly evident than in his singing
of "Petronille," "Mr. Mazzeo Seiuro"
and "La Guerre." Despite his seventy-
years Mr. Maurel gave every singer in
the audience a lesson in the art of song
and in the art of dramatic interpretation.
He received a warm and long
continued greeting.

The Sensational Song of America and Italy.

“THE YOUNG WARRIOR”

English Poem by J. Weldon Johnson

“IL GIOVANE GUERRIERO”

Italian Version by Edoardo Petri

The Musical Critic of the New York Tribune, February 28,
1916, says:

"An interesting feature was the singing of Mr. Amato of an Italian patriotic song written by an American Negro. This was HARRY T. BURLEIGH'S "IL GIOVANE GUERRIERO," and it proved to be the sensation of the evening. It was a splendidly spirited martial song, and ought to thrill many an Italian crowd in after years. That an American Negro could write such a song seems strange indeed. It is one of the few really admirable songs America has produced in recent years. All honor to HARRY T. BURLEIGH!"

In Italy the song has produced such an effect that MAESTRO R. ZANDONAI, one of Italy's greatest operatic composers of the present day, has consented to furnish the orchestration for the song to be performed **all over Italy**—truly a great honor for the American Composer.

This song is published in English and Italian in two keys.

An orchestral accompaniment can be had on hire from the
publishers.

PUBLISHED BY
G. RICORDI & CO.

14 EAST 43rd STREET

NEW YORK