New York

New York

The other evening Mr. Mengelberg and the Philharmonic orchestra applied themselves to a laborious task. This was Mahler's Seventh Symphony, which represents hard work for all hands through a full hour and a half. The result of the adventure was to renew the loud chorus of those who dislike Mahler's music. They are many, and their dislike is intense. The criticisms of the work in the morning papers were savage.

Yet there is a veritable cult of Mahler worship. In Europe Mahler festivals are held, and the composer's music is played everywhere to the accompaniment of extravagant applause. In this country Mr. Mengelberg gives the Mahler symphonies with great enthusiasm, while Mr. Bodansky, with his admirable " Friends of Music " organization, performs the composer's smaller orchestral and choral pieces with devoted artistry. It is difficult to evaluate the Mahler works without many hearings. On first impression, they are bad, shapeless, strident, vulgar, but after listening in boredom for half an hour you get a vague sense of the prodigious. Certainly you feel a tremendous earnestness. Perhaps it is an earnestness without talent. Perhaps there may be a deeper talent in the music. Two new figures are prominent in the New York musical world-- Barbara Kemp and Michael Bonen. Both, soprano and bass, made their debuts in the recent premier of Mona Lisa at the Metropolitan Opera House. Successive appearances in other works have confirmed the first impressions of their artistry. Kemp is an actress of power and subtlety. Vocally she is a gifted interpreter, though with a tone that is by no means the richest and most beautiful. She is the type of artist whose success is apt to be gradual and lasting. Perhaps she will match in fame the sensational Jeritza. Bonen is a great singer in every way. He has a huge, organ-like voice, distinguished style, ingratiating personality.