Concerts Reviewed

November 16, 1919

Fidelio oder Die eheliche Liebe, Overture ‘Leonore no. 3,’ C major, op. 72b, Ludwig van Beethoven

Symphony no. 7, A major, op. 92, Ludwig van Beethoven,

Les trois âmes, “L’âme du feu” and “L’âme des eaux,” Dynam-Victor Fumet

Pagine di guerra, op. 25 bis, Alfred Casella

Siegfried, WWV 86c, no. 25b, “Forest Murmurs” (Act II), Richard Wagner

Petrushka, Igor Stravinsky

November 23, 1919

Ramuntcho, “Overture,” “Le Jardin de Gracieuse,” “Le Concert d’Amesqueta,” and “Rhapsodie basque,” Gabriel Pierné

Rusalka, op. 114 (extract), Antonin Dvorak

“Slovakian song,” Karel Kovarovic

Le festin de l’araignée, op. 17 (extract) Albert Roussel

Symphonie fantastique, op. 14, Hector Berlioz

November 30, 1919

Parsifal, WWV 111, Act I, scene 2, Richard Wagner

Symphony no. 9, D minor, op. 125, Ludwig van Beethoven

December 6, 1919

Die Hebriden (“Fingalshohle”), op. 26, Felix Mendelssohn

Symphony no. 5, C minor, op. 67, Ludwig van Beethoven Danse macabre, op. 40, Camille Saint-Saëns

Etude symphonique, op. 45, Blair Fairchild

Impressions d’Italie, Gustave Charpentier

December 14, 1919

Oberon (J. 306), “Overture,” Carl Maria von Weber

Romeo and Juliet, Pyotr Il’yich Tchaikovsky

L’apprenti sorcier, Paul Dukas

Les Préludes, Franz Liszt

We speak most often of things we know poorly; we frequently argue over things that we do not know at all—and we neglect, in reality, what we believe we love. We do this through the kind of alarm we feel at bringing together mind and heart, thought and feeling, reasoning and intuition.

In the realm of art, and even more in the realm of artistic education, the error is profound, for both the denial of spontaneous abilities and the exclusion of cultivated abilities are unacceptable, and to nearly the same degree.

Feelings are rarely discussed in these pages, although a passionate love for music and the hope to spread it, and a respect for life, its sweetnesses and its sufferings, dictate them from the first to the last line. But, to express that, what words could possibly be adequate? I have read, I have heard some admirable ones—how could I dare to write others?