THE FATE OF IMPERIAL DABBLERS IN OPERAContrasted Artistic Experiences

of the Emperor Nero andMr. Hohenzollern

CHAPTER XV

By H. E. KrehbielCopyright, ÎD!S. by II. E. Krehbiel)

Unless my memory plays me false, a

German writer some, years ago, per¬haps a short time before the begin¬ning of the war, drew a striking par¬allel between the ex-Kaiser personwho until recently guided the destiniesof the German people and an infamousRoman emperor whose end, while ig¬noble in the extreme, was not quitemo ignominious as that which is likelyto overtake William of Hohenzollern.When N'ero Claudius Drusus Germáni¬cos found that none of his friendswould encourage him by an examplehe finally pumped up pluck enoughto try to slit his own weasand, where¬upon a well-disposed secretary finishedthe job for him. But while Nero su¬

perintended the warming of the waterwhich was to be used in washing hiscarcass lie blubbered out over andover again his commiseration at theartistic loss which was to befall theworld when he died. (Qual artifexpereo!) I am not sure that the com¬

parison undertaken by the Germansatirist was fair to Nero. That melo-drrunatic public official had been

trained^n the rudiments at least ofthe liberal sciences; he might havebeen something of a rhetorician' in theclassic sense if Seneca had not dis¬couraged him to feed his vanity; hemight have been rated fair to middlingas a poet if he had not made a mess

his political career; he was, noa better dramatic singer than,o of the artists at the Metro-'pera House; a more generous

the claque than the mostof those gentlemen; a kith-and charioteer. He was also>rt in athletics and woulde that a wrestler should"lay down" in his presence.mitted himself to be en-

long the Capitoline gods,tly in deference to nationaldid not attempt to pose

person nor teach the priest-;ational religion how they-

irform their rites. But whatgermano to my purpose just

s that when he set the stage forone of his shows lie did it up brown,to the queen's taste, up to the handleand all that sort of thing, Witnessihis excellent job in laying out thescenic plol for lus triumphal entryinto Rome after his return from theGrecian circuir, when lie had the archof the Circus Maximus levelled to theground to make a gateway foe hischariot. Remember that and thinkof the Hohenzollern stage carpenterbuilding a door too small to let in thechorus which had to light Lohengrinand Elsa to bed. told that story thefirs) time that it saw printer's typeslast February and ! want to repeatil now after 1 have recalled some ofWilliam of Hightaxhouse's other ar¬tistic achievements. He composedwords urn! music of a ''Sang an Aegir"which raised a guffaw throughout mu¬sical Christendom except in tho NewYork Arion Society, which piouslyperformed it and is now moribundbecause of too much devotion to Ger-

He also painted pictures.

designed buildings and statues (thefigures around the Wagner monumentin Berlin are his suggestions) anddabbled in the stage management ofthe Court Opera. Had he been as

genuinely musical as Nero or Freder-ick the Great he would, no doubt, likethe latter, bave sat behind Strauss,Muck, Blech, Weingartner and therest and given them the inspired andinfallible tempo for orchestra andsingers. He might also have emulatedhis Prussian ancestor in sending hisgrenadiers to bring recalcitrant primador.nas to the opera house, but as a

rule he seems to have left theirmanagement to his precious first-boraand heir, concerning whose methodsevidence might, be picked up at theMetropolitan Opera House.

An Imperial BlunderBut to the story of the imperial

stage manager. Although I did not be¬tray the fact last February, there is no

harm in saying now that it came to me

by word of mouth directly from Dr.Muck. When Muck was assistant con-

ductor at the Court Opera in Berlinhe received instructions to prepare a

gala performance of "Lohengrin" whichwas to be refurbished from the bottomup at the command of the All Highest.The young musician was flattered andproud of the chance to distinguish him¬self by putting his personal impresson so popular a work. He ground hismusical agents to a fine edge and calledfor a scenic rehearsal. All went welluntil the curtain opened on the in¬terior of the kemenate, when he saw

to his dismay, not to say horror,that the portal had the dimensionsof an ordinary plebeian door. Yetthrough this must come sixty chor-isters, who must enter, make the cir¬cuit of the room and the bridal pairand leave the latter to their shortmoments of wedded bliss, all within thetime measured by the music. He calledthe stage manager and pointed out hisdilemma. The stage manager refusedto alter the scene. He summoned theroyal director, hut he would make no

change, for that scene had been de¬signed by His Most High Majesty theKing and Emperor. It then developedthat William of Iliirhtaxhouse had wit¬nessed a performance of "Lohengrin"gotten up for his especial benefit atBonn, and had resolved to show Berlinwhat an imperial genius could do withan opera which told a story about a

German King who, let is be said inpassing, was about as far removed incharacter from William II as German-icus was from Nero. Preparations for"Lohengrin" came to a standstill untilthrough the intendant's diplomacy thepermission of the All Highest to widenthe door could be obtained.Now, this Hightaxhouse person has

not yet gotten into opera, though 1fancy that, unless he makes bo tragican end that his memory will no longerexcite mirth, he will some day lind hisway into opém bouffe. The most puis-s'ant of his ancestors, Frederick theGreat, was on the stage for a space inMeyerbeer's "Feldlager in Schlesien,"'which became metamorphosed into"L'Etoile du Nord," and as such mayhave been sung in New York; but that

i was because Frederick was a fluteplayer who would perhaps pass critical

muster even to-day. Nero, however, hasbeen seen in New York in two operaticreincarnations, and of one of them Ipurpose to speak in this chapter ofMetropolitan history.

"Quo Vadis" in Philadelphia.It was rather singular that the re¬

moval of Mr. Dippel's organizationfrom the bustling metropolis of theMiddle West to the Eastern city pop¬ularly supposed to be extremely de-liberate of action, seemed to bring toit an access of energy. Most of theoperas in its Chicago repertory werenot new, but needed only to be re¬vamped; but in Philadelphia twoworks new to the country were calledinto activû_being ."Natoma" and "QuoVadis." The latter, an opera in fiveacts, book by Henri Cain, after thehistorical novel by Sienkiewicz, musicby Jean Nouguéa, first performed inthe City of Brotherly Love on March25, vas brought forward at the Metro¬politan on April 4, 1911, with no sig¬nificant change in its cast except thesubstitution of Signor Guardabassi forM. Charles Dalmorés-.a substitutionwhich weakened the performance ma¬

terially. Among the actors were twobrothers, Walter and Arthur Wheeler,herculean young Philadelphians, whoassumed the characters of the gladia¬tors, Ursus and Crotón, to humorthemselves and the social set to whichthey belonged.

Sienkiewicz's historical novel wa ;

tremendously popular when it wasfirst published and it still holds theimagination of multitudes in thrall.It stirred the devotion of religiousdevotees, captured the fancy of loversof the picturesque and exacted an in¬terest by no means ignoble of thestudents of classic literature andhistory. What the pseudo-historicalnovel did in its way M. Henri Cain'.,dramatization repeats by means of in¬genious use of theatrical and lyricaldevices. The romance covers toolarge a territory to be embraced in ,i

single play, even if the play were notmade sluggish by music, and M. Cainhas presented a series of incident?rather than a closely knit and logi¬cally developed tragedy. But he hasdone his work with great skill, a largtelement of which is exhibited by themanner in which, while making thepersecution of the Christians undeiNero tl'.o main theme of the opera, hihas blended with it a presentation oiPetronius and Vinicius as heroes oiromantic love. lie has not been f.mere transcriber of paraphrast, bu1has disclosed himself as a poet ancalso a scholar in his use of classicaami Biblical material. Unfortunatelythe desire lor a vast and varied speclacle lias persuaded, perhaps compolled, him to introduce a multitudof personages and incidents worthy obetter treatment as inconsequentiastalking-horses, and thus marred thplay in the eyes of historical studentsSome faults in the opera as presentewere due to the management, For instance: How came the elephantinbasso Arimondi to be cast ror the parof Nero ?

Music Altered for Arimondi.The composer wrote his music for

tenor, and it had to be altered to brinit within the range of Arimondidracontine voice. Had M. Ñongues d>sired to be strictly within historic?.lines he would have given the part tobarytone, for that in greatest likelhood was the character of voice whicthe tyrant possessed. It was naturallweak and of a rude quality. Quahquam exiquie vocis et fuscas, says Su

. tonius of it. but I have always fancic

GERALDINE FARRAR

Who will appear in "Tosca" and "Carinen'' at the Metropolitan this week

that the historians have not treatedhim fairly, either as poet or singer.He certainly studied faithfully and in¬dustriously tinder Terpnos, the finestkitharist of his day, and it is while de¬scribing Ips virtues, not his vices, thatSuetonius says that his musical per¬formances gave such joy to the peoplethat public prayers were appointed tobe put up to the gods on that account,and "the verses which had been pub¬licly read were, after being written ingold letters, consecrated to JupiterCapitolinus." Abject flattery, of course.There were some persons who. ratherthan hear him sing, slipped privatelyover the walls when the gates were

shut, or, counterfeiting themselvesdead, were carried oui. as to theirfunerals. But these may have beeneither poor judges or prejudiced andsatiated individuals like Petronius Ar¬biter himself, who in "Quo Vadis"sends the Ciesar a letter counsellinghim to sing no more and then dis¬patches himself before Nero can sendthe Proetrian guards to lay hands uponhim. This is not. o.uite so much licenseas Barbier took when in his libretto forRubinstein's "Nero" he had Thraseas

MUSICAL INSTRUCTION MUSICAL INSTRUCTION

r. George HamlînDistinguished American Tenor

Four tessons with Chicago Grand Opera Co.

Announces that he has begunteaching for the winter term

,«. *s»YÍence »duress Telephone1070 Madison Avenue, N. Y. Lenox 8186

Le AeTeacher of Singing

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E TORPAIMME.H.

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TENOR

. MASTER OFCALVARY CHOIR

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wmw : «><*«M«U»ti 134 í u»w< M»il

FLORENCE f\ M ! p Solo Ptanlrt, RoolUI«.*'¦ il fia I r t'nv.mble Cla-^nWiTlfcofc. A Spficlalry.I'l'l'll. OF I.Jlst mrri/KV timl AUTHOR-l/.t.ii TEACHER OK JMS METHOD.8tudlo 140 WEST (iûth ST. .Toi, Columbus 8990.

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BROOKLYN

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interrupt the imperial singer while hewas singing "Of the Grief and Love ofTphigenia," the disturbed preferring tosuffer death rather than hear more ofthe song, which, like all that Nerosang, had at least a noble theme. M,Cain utilizes the same dramatic motive,but brings it into a little greater con-sonance with history, for the sarcasticletter of which we hear the conclusion,in the last act of the opera, is plainlyintended to represent the famousSatyricon which the veritable Petro-nius wrote for Nero's chastisement.Those who remember Sienkiewicz's

romance will easily be able to rocon-struct the story of the open; from a

few hints which I shall give with in-terpolated remarks on the music.There are five acts, one of them (thefourth) being divided into two scenesfor the sake of dramatic contrast.The first and fifth acts are in effectprologue und epilogue to the dramawhich is developed in the second, thirdand fourth acts. This idea is more

than hinted at in the titles given to \

the opening and closing scenes. Thefirst Is "Eunice's Kiss." Its chief dis-closure is the love of the Grecianslave, Eunice, for her master, Petro-nius, who when the play ©pens Í3 stillarbiter eUgantiorwm and the director;of Nero's pleasures exactly as he fle¬ures in history. Incidentally it in¬troduces Vinicius, who tells of hispassion for Lygia and refuses to becomforted with the gift of Eunicewhich Petronius attempts to force

upon him, all ignorant of her love forhim. That love is poetically disclosedat the end of the act when, being leftalone she embraces the statue of hermaster and presses passionate kissesupon its marble lips. We are alsointroduced to the personage who ismost active in promoting the progressof the drama.Chilo, a busybody andgossip-monger, dealer in amulets, spyand mischief-maker generally. Thereis much hymning of Venus by the twofemale slaves, Iras and Eunice, andexchange of confidences between Vini-cius and Petronius, at the conclusionof which the latter presages the out¬come of the drama so far as he is con¬

cerned. Some day, the Arbiter con¬

fesses,' he will grow weary of life.Then will ho tell Nero the truth abouthis artistic performances which now

he is lauding, and die amid scenes ofevening loveliness. Incidentally Chilois retained by Vinicius to discover themeaning of a symbol which Lygia haddrawn in the sand.the figure of a

fish. The symbol is one with which allstudents of classical antiquity are

familiar. What Chilo's inquiries intoIhe meaning of this symbol leads to isdisclosed in the second and fourthacts. The fifth deals again with thelove3 of Eunice for Petronius andVinicius for Lygia, and their differentoutcomes.the suicido of the first pairand the escape and happiness of thesecond. In both acts poet and com¬

poser have put forth their finest ef¬forts, M. Coin by creating an exquis¬ite atmosphere with the aid of a poemby Catullus, and M. Nougués by creat¬ing music which, though imitative ofMassenet, languid and sensuous, isstill appropriate, redolent of thescenes and inoffensive to good tasteand judgment. In other parts of theopera he is just as eclectic while striv¬ing for greater individuality, but hedoes not escape triviality and com¬

monplace. Nero's orgies are accom¬

panied by the cheapest kind of circusmusic. These orgies fill up neai-ly allof the second act, the climax of whichis found in the burning of Rome. Thesong which Nero wishes to sing is in-terrupted by a mob which demands thedeath of the tyrant. Nero asks twoof his sycophants to sacrifice them-selves for his sake, but they refuse.Then Petronius leads out the Pra>torian Guards and silences the re-

volt, while dancers fill the stage andwriggle and writhe in a futile effortto represent one of the corybanticscenes with which the era of Rome'sprofligacy is associated.The third act shows a bustling pict-

uro on the banks of the Tiber. Amidmany incidents Chilo pursues his ef¬fort to learn the meaning of the mysticsymbol, and at length succeeds. Vin¬icius' hierling, a gladiator, attempts tocarry off Lygia, but Ursus, Lygia'sgigantic slave, hurls him into the river.In this scene the Apostle Peter appears

( to the Christian congregation and re-

A Roman Kaiser's 0ro¡esShown in "Quo Vadis" at

the Metropolitanlates the incident which ííve* in thetradition which gave title ?o took andopera.the meeting between Peter andChrist on the Appian Way, the Apos¬tle's question, "Whither goest thou,Lord 7" and the answer which aent theApostle back to his perse«cnted flock.The fourth act brings to a culminationthe religious element in the play. It isdivided into two scenes, obviously forthe sake of dramatic contrast, though,since the composer felt it incumbentupon him to connect the scenes with anorchestral interlude which continuesthe mood of the Christian canticles, ofwhich by this time every ear must havelong been weary, the effect is mostmonotonous and deplorable.

"Pious orgies, pious airs.Decent sorrows, decent pray'rs,"

are always welcome for a change evenin an opera, but when the dramatic in¬terest is centred on rapid alternationof exciting incidents and variety ofscene they become tedious if not vexa¬tious. It is true that the librettistseems to have been as desirous as thenovelist to keep the motive in viewwhich finds expression in the title ofthe work, but a theatrical audience ex¬

pecting a series of pictures of life inRome when the empire was sunk to its"lowest level of wicked debauchery carwell get along without so much hymn¬ing as MM. Cain and Nougués indulgein. In the first of the two scenes theChristians, whose hiding plac» has beer

1discovered and betrayed by Chilherded in the bellunariam of th^G?seum and subjected te indigniti^';many kinds. The second shows Sition of the arena in the circos and «imperial box. A gladiator is 8lain 21dragged out, Ursus is brought for. jto do battle with the aurochs, and Z\behind the scenes to do th* deed JK*forms the most exciting incident in «Znovel, while in the opera the n<Z?tors tell of the progress and outcomecf the battle. The giant presents him¬self before Nero's box with the maidenwhom he has rescued from the horns ofthe wild animal in his arms and ^her liberation as a reward for the deed\inicius rushes into the arena andclaims her as his wife. Nero, in arage, commands the massacre of 'all theChristians who have been driven intothe arena. Chilo, conscience strickenat the awful result of his deed denounccs Nero as the author of Rome'sdestruction. There is a popular revoltand a battle between the people andthe Praetorian Guard. Petronius ful-fils his destiny as he had foreseen andpredicted it. With Eunice at his sidesurrounded by voluptuous pleasures hepermits a physician to open his wins«and her?, and together they sink softlvinto death. Tigellimus. who in histor'vwas largely instrumental in the over¬throw of Petronius, is in the opera re¬duced to the condition of the leechVinicius and Lygia go out into the jovof life.

Park TheatreThe Society of American Singers,

now in the third month of its seasonof opera comique at the Park Theatre,is midway in its festival of Gilbertand Sullivan revivals. "Pirates of Pen-zance" will be sung on Monday, Thurs¬day and Saturday nights, "Pinafore"on Tuesday and Thursday evenings and"The Mikado" on Wednesday night andSaturday matinee.

In the casts aro Craig Campbell,William Danforth, Lee Daly, JackGoldman, Homer Lind, Robinson New-bold, Bertram Peacock, John Phillips,John Quine, Harry Truax and HerbertWatcrous, and Gladys Caldwell, EileenCastles, Blanche Duffield. MargaretHendrix, Josephine Jacoby and IsabelMcLaughlin.

Salzedo EnsembleThe Salzedo Harp Ensemble, com¬

posed of Carlos Salzedo and six of hisprofessional pupils, will be heard atAeolian Hall on Friday evening, No¬vember 22, in a new programme, Mme.Povla Frijsh, the Danish soprano, willassist.

Thanksgiving Matinee"Madame Butterfly," at special prices,

will be the Thanksgiving matinee atthe Metropolitan on Thursday, Novem¬ber 28, with Miss Farrar, Mmes. For-nia and Egener, and Messrs. Althouse,Scotti, Bada, Schlegel and Audisio,with Mr. Moranzoni conducting.

Friends of MusicThe entire score of the incidental

music which Schubert wrote for theplay of "Rosamunde" will form theprogramme of the first concert in thepresent season of the Society of theFriends of Music, this afternoon at ;:o'clock in the ballroom of the Ritz.The music will be sung anefplayed by

a small chorus and small orchestrafrom the Metropolitan Opera House,under the direction of Arthur Bodan-zky. The chorus has been trained byGiulio Setti, master of chorus at theopera house. Mis» Sophie Braslau willbe the soloist.The vocal portions of the score willbe sung in English..-7--Music Notes

George Copeland and the Duncandancers wil again appear at the BoothTheatre next Thursday and Fridayafternoons. The programme of lastweek will be repeated.Mme. Yvette Guilbert will give a spe-

cial matinee at the Maxine Elliott The-atre on Thursday, November 21, wheithe programme will be devoted to th<life and works of Paul Verlaine.The Philharmonic Society will opei

its Brooklyn series of Sunday concert:this afternoon. The soloist is HaroliBauer, who will play Liszt's E flat Concerto.On Thursday evening: and Frida;

afternoon of this week at the Philhaimonic's second pair of concerts at Caínegie Hall, Raoul Vidas will r»ake hifirst appearance with orchestra in thi

. country.

AVStTALKSXA%WIE HAU.ATÖ30

alsoT0-M0RROW(Mon.)AT3^r^l $&&&&. ff

[»oubli? foto? Vww5-\Mw»krfül ftoHon WchwesPrices*-50*h>*\SO

SECOND BILTMOREFRIDAY MORNING MT8ICALEGrand Ballroom, Hotel Blltmore, .Nov. 22, at 11.

Kli.WCKSSoprano

SEIDELCICCOLINI

Ilea. soatu $¦> mi nul«» lo-morrow (it Biltrnors Bot('(««-<. fr«>m Í) to tí '(Balcony floor). Manarrmmt11. E. .iKliiiBtoQ. Knabo Blaiio

SOCIETY OF NEW YOKKJOSEF STRANSKY.Conductor

< ARMXilE HAU,Next Thun. Eve. at 8:30. Next Fri. Aft. at 230.

Soloistmon.

Skint-Sn<«ni, Moxnrt. Sibelius, Berilos.BEETHOVEN, "FIFTH SYMPHONY"Tickets ut Box Offlco. 1-KLIX 1'. BKIFKLS, MtT.

VIDAS

BROOKLYN ACAPBMY OF MITSIC.THIS AFTERNOON AT 3:15.

HAKOLD BAUER

friends oï musicTO-DAY AT 3 & RiTZSchubert's "ROSAMUNDE"

In Its entirety, In English.AIlTl'R BOOAN/.KY, Conductor.SOPHIE BRASLAU, Soloist.Small Chorus and Orchestra from tlisMETROPOLITAN OPERA HOUSE.Single Ticket» $2.50 at the <ioor.

AEOLIAN HALL, Frl. Eve., Not. 22, at 8:15Benefit Duryea War Relief, Inc.

Salzedo h*rp EnsembleAssisted by POVLA FIHJSH, Soprano.Dir. < uthiirliu« A. Ilamman, ¡,.1 \V. 39th St.

Aeolian Hull, Thursday. Nov. 21. «ODEBUT RECITAL at *-*

G WALTER

REENE BARITONETl.-kKtÄ, 73c. to $2. Mgt. Daniel Mnjer. U'aUw riim.

AMUSEMENTS

Theatre, t'omm'oust'lrcle, 51'lh St.Phone Col, 9590

8:15. Mal.

I ^mlrw.Tsi'ntc. °f °Pera Comique§S Wro. Wade Hlnsnaw.(icn'l Manager§§ "A MELODIOUS JOÏ.".TimesS§ 3 Gilbert & Sullivan Comic Operasi Hiivt; »lardly had their e<|iiul.SJ> ninni<-al quality and artlfdie refine¬rs ment, Blnce the original Savoy cora-

THIIBS A SAT NIGHT:

^ Tl.'ES AM) Kill SICHT.-

^ WKD NIGHT AMJ -»AI MAT

% "A brilliant revival. . . " I >eSSS Society »f American Singers can he§i credited with another artistic tunci'M».^! .Reginald de Kovcn in The Herald

^ In Preparation

I The Gondoliers

SixteenthSeason

ALTSCniLERConductor

RUSSIANSYMPHONYSOCIETY5Kvfrs. Dec. 10. 31 ¡ Jan. 28; Fell. 18; Mar. 2!5

Afta. Doc. II; Jan. 2, 29; Fob. 19; Mar. 2«SERGE PROKOFIEEE ...American DebutMINCHA ELMAX .ViolinistMISCHA LEVi'TZKI .PianistJOHN POWELL .I'ianistSubscriptions Carneóte Hall BoxOfflce & Mfrt.Daniel Mayer, 1448 Atollan Hall. St'ertPlano

PIEDIGROTTÄSONG CONTEST K..'°CARNEGIE HALL, next Sat. Eve., Nov. Î3CARUSO, SCOTTI AND AMATO

will act as Judges and personally «ward the prisesfor tho successful sungs.Orchestra of 40 under leadership of

Maestro A. SALMAGGITickets &nc. to Ji.r.O, at Box Otilco or Of¬fice of "Music an.I Musicians," 14-*> Hroad-way, .V. Y. Toi., Itryanl ll!74.

PHILADELPHIA ORCHESTRAWWW l?&Vlix\TCKm*99.00. $7.00. *Ô.OO, ÏIH.7.-., S2.50. ltoxrti «75 *55at liox Ofllce. ('In<(>ks to It. (' H«.,-i{1st Con. Tue»., Nov. 19. MAT'ZKN.VCEK.Sol.Aeolian Hall. Friday Eve., Nov. 29 at «nPIANO RECITAL.FELIX

GarZigLiaScats 9).SO to 50 et«. Mgl. Ifa.nsol ¿fcJones (Steinway).A HO I.IAN HAIE, HAT\ NOV ^ flTTÜcuTl^HEEEN DESMOND1 ST in FV PIANO.

AMUSEMENTSVolf.lohn Musical Bureau AnnouncesCarnegie Hall, Sat. Aft., Nov. 23d, 2:30

PIANO RECITAL.JOSEF

HOFMANNTickets at Box Office. (Stelnway Piano.)

Carnegie Hall, Sat. Aft., Nov. 30tk, 2:30VIOLIN RECITAL.JASCHA

HEIFETZTickets 75c, $1.00. J1.30 and $2. Now at Hall.Aeolian Hall, YVed. Aft., Nov. 20, at 3Serge PROKOFIEFFPIANIST (Stelnway). All Busslan Piogram.Aeolian Hall, Mon. Aft., Nov. 25, at 8.

Merle ALCOCKSot:ff_Recital_ (Stelnway), Seats at HallMusical League of Amtrica AnnouncesAeolian Hall, Friday Aft., Nov. 22, at 3.

Bew Lane SHEPHERDSong- Recital (Stelnway). Seats ¿t Hall\.«oli«in Hull, Sun. Aft., Nov. 24, at 3

FRANCIS ROGERS!Song P^-cltal (Stelnway). Seats 3t Hall

TA

N. Y. SYMPHONYy SOCIETY ^S WALTER DAMROSCH, Cond'r \' Aeollnn Hall, Thin Afternoon at 3.

SoloistsWILLEM WILLEKE .VioloncelloRENE POLLAIN.Viol«.Symphony, "Hnmlil In Italv".BBBl.mj!Violoncello Concerto with Orchestra_OERALSuit« from "Blcctra". ..WALTER DAMROSCHMnrch from "Le coq d'or".KOKSAKOKFTickets at Box Office. George Englt-s. Mgr.

SYMPHONY CONCERTSFor Young Children

N. Y. SY.MPÏÏOVV («RCIIKSTRA.WALTER DAMROSCH, Conductor.« Sat. MorningH nt Aeolian Hall.Subscriptions a«, llwui 1^0*2. Aeolian Bulldln«.

"^t^trf?. sT0-NI6HTat 8:15By Request.Chansons Rouge* & Populaire»

yvetteGUILBERTAssisted by EMILY GRESSER, Viollnisto.Kperlnl Mat. Next Thursday. Nov. 21, at 8.PAIL VERLAINE. 111b Life & Redemption

In Nona*. & Poem».Direction Daniel Mayer. Knabe Piano.

AEOLIAN BALL.Monday, l>ee. 2, at 3.SONG RECITAL

BYJOHN CHARLESSeats «'«0c to $2. Mgt JULIAN POLLAK.

THOMASAeolian flail. Tliurs. Err., Not. 21. at S:15.Cello Recital.CORNELHS

VAN VLIET,Tickets at Bos Office. Mfment, IUeiuct & Jones.

JEFFREY

_AMUSEMENTSAEOUAN HALL7To~morr7w Aft at 3

AGAIN! AURORE/La CROIXüOc to $1.50. _1»IA VIHT.Mgt. Loudon Cherlton. Steinway Piano.

Aeollan Hall,TomorrowKvenln* at ,.«r>0e. to $1.50. .-vim rvrsrM«t Loudon QuritoB. u^l^^tt»»

NEW Subscribers pan NOWS^.s ."f* »»otmentH for the3 Subscription Concerts of :he

fTLONZALEV*-Quartet--'. JftNOV. 26. JAN. 21 Min nTel. Circle »X6fc ¿kaff&Sk,,

Aeolian Hall, ^^ "^TTue«. Aft.. ^B̂ ( P|SAMUEL |J|ÄRDNE||Afgt. Loudon Chsrlto,.. ytV..?ïllïto PIsliAeollan Hall, sbbbk . *m,Thura.Eve.. A -^'»im>k-Ä

MAURICE UAMB0J.ÖMft. Loudon Charlto.-i. Msson & na.-nlir. Hai

METROPOLITAN ÄMon. at S :.",. Tosca, torrar; Crr,

bcotti Malatcsta. Cond Moranza»!Wed. at 8:15. L'EUslr d'Aniore. Hemp*bpar-kes; Caruso, Scott!. Didur. L\>od., P*PThur«. at S. Carmen. Farrar, Petersosii".1' Couz,nou, Seguróla. Cond Monteux.*rl. at 8. Marotif. AMa, Howar De Lucf.

Rotnier, Chalmers. Bada. Cond Monteux-?<at. at 2. Prophète. Muz!<> Horn« r; Carus.

Rothler, Dias. Mardones t'on.i HcdaJizkJTHANKSGIVIN«; DA» MATINE«THERM., NOV. 28. at Í D II TTC DEI *(pnces 9i to is) BUTTtnrLT

Farrnr. Kornia: Althouse Scott!. Bada.Cond., Moranaonl. Seats Tomorrow 9 A. M

HARDMAN PIANO USED

Carnegie Hall, Tuesday, Dee. 8. 8:15

ORATORIOSociety o f N <¦ w York

WALTER DAMKOSCII. Co«.¦Wolf-Ferrari's

Ici Vita N'if.i»

(The No»' Life)

Chorus of_Boy choir of 50N. r.Sj mphony Orch.Rosalie Miller

andReinald WirrcnrathScats 50c to 12.00Box office or 1 W, ;:< St

Lili 1 fiilsncer'8Hymn to the SunBurial of » Soldier

lime)

Aeollan Hal!, Tuesday Eve., Nor. 19, «Mû-

Te ILfsen TrioEvening* Scandinavian Hnslc

Auspices Amorfcan Bcand'Ian Bor Statnwsj Pli»Kt. Wlnton * l.lvlnoton. be.

CARNEGIE HALL. Nov. 22. st 8 15 P. MPR0fir>"* OF n»«ifF MUSIC

,JOHN POWELLStetnway Piano.Tickets 50c to $2. Boxe» $12 to $15

Í MANAGEMENT win ton & LiUMîSTOK.