The San Francisco Examiner from San Francisco, California • 68

THE SAN FRANCISCO EXAMINER SUNDAY, JANUARY 16, 1927 12 MUSIC THE WORLD OF IN ONALIA AND PERS NEWS S. F. Musical Club A Trinity of Distinguished Musicians CHALIAPINAT HEAD OF CAST STANFORD AND U. C. GLEE CLUBS THE WHOLE CIVILIZED WORLD WILL CELEBRATE CENTENARY OF THE DEATH OF BEETHOVEN The following Is the program for next Thursday evening's meeting of the San Francisco Musical Club: Sonata (for violin and pis no).

Artur Arglewiei. (Mrs. Cecil Hollls Stone at the piano.) (a) "Celle Que Je Prefers Felix Fourdraln (b) "Petltes Hoses" H. A. Cesek (c) "Love's Quarrel" Cyril Scott (d) "A Kondel of Spring" Frank Bibb Mrs.

Anthony J. Sllva. (Mrs, John Lawler Jr. at the piano.) Violin numbers, selected. Artur Arglewtez.

(Mrs. Cecil Hollis stone at the piano.) Trio (a) "Salutation" Richard Gaines (b) "A Message" Tschalkowsky (c) "Per Nusebaum" Si-humann (d) "The Bird of the Wilderness" Horsman Mrs. Charles Stuart Ayres, Mrs. Horatio F. Btoll.

Mrs. Byron McDonald. WERRENRATH NEXT SUNDAY Feodor Chaliapin is to bo presented in tills city with 4 brilliant supporting company In Rossini's "Barber of Seville" at the Auditorium on next Tuesday and Wednesday night, January 18 and 19, under the local management of Frank W. Healy. Glulio Gattl-pasazza, general manager of New York Metropolitan Opera Company, first brought Chaliapin out of Russia and presented him for the first time to a western European audience in "Meflstofele," in Milan in 1902.

"When he arrived at the Scala," said Gattl-Casazza, "I was tremendously impressed with the handsome young giant, and didn't hesitate to Accommodate him when he politely requested me to permit him to interpret certain details of stage direction In his own way. Signor Arturo Toecanlnl, the conductor of Chaliapin's first appearance la Italy, also readily agreed to this exceptional state of affairs, fo? he, like myself, perceived at onco that here was a decidedly exceptional being, who had so many natural talents at his command that it would have been a pity not to have allowed them full play." Chaliapin takes the entire responsibility for Tuesday and Wednesday's performances here. He has selected the artists and directs the stage at all rehearsals and all performances. He selected for the prima donna role Elvira, de Hidalgo, the Spanish coloratura soprano. The conductor, Eugene Plotnl-koff, was Chaliapin's co-worker for years in the great opera houses in Russia, conducting tho "Barber" and other operas with Chaliapin in Petrograd and Moscow.

Konstantin Morovin, Russian artist, now located in Paris, has designed the scenery and costumes. Giorgio Durando, Italian baritone, who has sung the witty, gossipy, rougish "Figaro" with success at La Scala and the Costanzi in Rome, will Interpret that character with Chaliapin. The Count of Almaviva Is Joseph Bobrovlch, the Lithuanian tenor. Anna Lisstzkaya, mezzo-soprano, recent star of the Moscow Art Theater, is lending her art to the rather small part of Berta. Giuseppe La Puma la Chaliapin's Dr.

Bartolo. Relnald Werrenrath, American baritone, will be heard In San Francisco on Sunday afternoon, next, at Civic Auditorium, under auspices of the Elwyn Artist Series, which has arranged for this appearance a program of unusual variety and appeal. Mr. "Werrenrath will be accompanied by Herbert Garrlck. Here is the program: Some Rival Has Stolen My True Love Away (Surrey air) arr.

by Lucy Broadwood Bally In Our Alley (Henry arr. by Harry Spier When Dull Caro (old English) arr. by H. Lane Wilson Vier Ernste Gasange. Brahms (a) Denn es g'Sbet dem Menschen (c) Iod.

wie bitter bist du (b) lch wandte mlch (d) Wenn lch mlt Menschen und mit Engelzungen redete Aria "Avant de quitter ces lleux" (from Gounod Piano solos (a) Gavotte in minor Bach (b) Rhapsody in sharp Dohna.iyl Herbert Garrlck Ojlbway Indian Melodies arr. by Arthur Whiting Carousal Youth's Song In the Forest Longing War Song My Bark Canoe Boots (Rudyard Kipling) Hazel H. S. Felmann The Green-Eyed Dragon Wolselev Charles Poor Man's Garden Russell Tavern Song Howard Fisher The much wished for has come to pass and, on Saturday evening next, the glee clubs of the University of California and Stanford will give a Joint concert. This genuine music meet will be held In the basketball pavilion at Stanford.

What Warren D. Allen has done for the Stanford men, Callfornians have good reason to know. But people have, as yet, only an inkling of what Dr. Leonard B. McWhood, who hails from Dartmouth, has done for the men of U.

C. If folks who think college men are only capable of "rah, rah" stuff will take a run down to Stanford, what they will hear will be In the nature of a revelation. There is no reason why college men should not sing the old-time ditties, but there Is every reason why they should sing them well, and that they should also prove that, where Harvard has led, they can follow. The Harvard men Invaded Germany and astonished the Teutons by showing them that Americans can sing Orlando dl Lasso and Palestrina as well as the famous Vienna Male Chorus can do It. California can do those things, too, and there seems no reason that, when Dr.

McWhood and Mr. Allen give the word, they should not go to New York and "lift the cup" which is awarded annually to the best university glee club in America. Here is next Saturday's programme: The glee clubs will have the assistance of Marie de Forest Fremery, soprano, and Bolton White, violinist. College songs by both clubs-Hail to California Medley of Stanford Bones Midley of California songs "Intlger Vitae" Flemmins Combined clubs (directed by Prof. McWhood) "Goln' Home" Adaption by Wm.

Aran Fisher lrom the Largo, "New World Syir phony." "The Hanl-Orgai Man" Ortbegraven California Glee Club Violin solos Bolton White (with Mr. Rolls at the plo.no) Serenade Schubert (Violin obligato by Bolton White) A Dirge for Two Veterans Guntav Hoist (With accompaniment of trumpets, tubas and drums) Stanford Glee Club "Frog Went a'courting" Howard Brockway 'At Parting" McDowell California Glee Club Piano solo Rafael Castlello "De 01' Ark's a'Moverin" (Negro spiritual) David Gulon Finale (from "The Sullivan Stanford Glee Club Songs (a) "Yesterday and Today" Charles Gilbert Spross (b) "Callforria Lullaby" Seiger (o) "Love Me If I Arthur Foote Marie de Forest Fremery (Mr. Williams at the piano) Ave Maria Arcadelt Suoml's Song Maire "Hall! Stanford. Haill" "All Hail, Blue and Gold!" Combined clubs Accompanists: Griffith WilliamB, Stanford '30; Rafael Castlello, California '30; Walter Levin. Stanford; C.

A. Kulraan, assistant Stanford. By REDFERN MASON LUDWia VAX BEETHOVEN died In 1827, and on the 20th of March It will be Just a hundred years ago. His Is a centenary which all the civilized world will obserre. Beethoven did not conquer peoples In the fugitive fashion of Caesar and Napoleon; be established a lasting empire over men's minds.

We do not remember him because he made this earth of ours a hell, but because he enriched humanity with some of the beauty that is of heaven. So It will repay us to think a little about the work he did and how he did It Early in 191S I was In uniform then and had on my sleeve the letters K. it was my good fortune to visit the quaint old house in Bona where the great composer first saw the light of day. Now It Is a museum. There stands the console of the little organ on which the 12-year-old Beethoven used to play at the early morning mass In the Church of the Minorites.

The grandfather's clock at the foot of the stairs watched the goings and comings of the lad of whom Mozart prophesied that he would "make a noise in the world." His piano is here, responding to the touch with a wistful, far-away note. On the wall are pictures of his fellow musicians and insplrers, one of them that Mathilde von Braunschweig whom scholarship points out as "the deathless beloved one." Preserved In glass cases are his notebooks, mute testimony to the Industry and patience with which, like the verse of Horace, his Ideas grew from state to state of artistic grace. Samuel Johnson once denned genius as "an infinite capacity for taking pains." Granted the gift of Imagination in sufficient measure, the defluitlon Is helpful, If not entirely adequate. Beethoven had that gift in sovereign degree but more encouraging to average mortals is the fact that, with all his natural endowment, he still felt It necessary to labor as hard at the task cf making music as any business man or artisan. If Ideas came unpremeditated, the master's use of them Involved unremitting toil.

For thirteen long years be studied assiduously, and when at last he felt he had "a free soul" and could say what he wanted In his own way, he had won the ability to do so by as severe a discipline as ever artist has undergone. The great Albrechtsberger taught him counterpoint and said the young man "would never do anything decently," doubtless sensing the young revolutionary who would begin his first symphony with a discord. Haydn gave him lessons for nineteen cents (remember this, ye plutocrats of the "master Beethoven's early work is full of probably unconscious Imitations of Mozart. Nothing here of the vanity of the young man who will not study the work of others, lest he should prevent his precious ego from coming to flower. Beethoven learned from the apostles of his art; he absorbed all they could teach and added to their lore something Imperishable of his own.

It is that personal note In his work which the world loves. Mozart was an aristocrat; Beethoven was of that common people which "God loves, or He would never have made so many of them." His genius was not immediately appreciated. Ludwig Spohr ridiculed the Fifth Symphony, and Berlioz' teacher, Leseuer, Said that "such music ought not to be written." "Never mind, master," replied young Berlioz, "they won't write much of it," and they haven't Everything In that old house at Bonn speaks of the Influences that made Beethoven what he was. You look out of the windows and see the quiet old garden in which he played as a boy. Beethoven loved Nature.

"Every tree seems to say Holy, Holy," he wrote. He would wander in the fields, sketch-book in hand, and Jot down the ideas as they came to him. Asked how bis themes were born to him, he HERBERT GOULD, young American baritone, who returns to San Francisco to give a Oakland Civic Opera SLVIRA DE HIDALGO, Span-ish coloratura, who will sing Rosina in Chaliapin's production of "The Barber of Seville." DUETTISTS IN AUDITORIUM PIERRE VLADIMIROFP, one of the leading dancers with Mikhail Mordkin, who will appear in ballet this week. MORDKIN HERE WITH BALLET S. F.

Sy mm phony The winning choruses and soloists at the recent San Francisco Eisteddfod will give a concert this evening at the Welsh Presbyterian Church. 449 Fourteenth street, near Valencia, at 7:30 o'clock. The San Francisco choir of fifty voices, directed by T. Sidney Evans, will sing Mendelssohn's "Thanks Be to God" and Sir Edward Elgar's "The Shower." Announcement of the conductors for the spring season of the Oakland Civic Opera Company was made this week by Antolne K. de Vally.

These appointments practically complete the staff. Dr. Alfred Hurtgen, formerly of the Dresden Opera house, Dresden, Germany, has been chosen to direct "Tannhauser," which will be presented four times during the season. The French operas will be presented under the direction of Dr. Modesto Alio.

Stage direction anid dramatic training will be In charge of Andre Ferrler, of La Gaite Francals, of San. Francisco, while scenic effects will be by Simeon Pelenc, an officer of the French Academy. Augusto Serantoni has been selected as chorus master, and already has taken up his duties, as the chorus has been two months. The ballet will start active work within two weeks. There will be twenty-four or twenty-eight in the corps de ballet, which in addition to presenting the dances incidental to the operas, will give at least one complete ballet.

Stravinski's "Fire Bird." Except for three principal dancers, the ballet will be chosen from the East Bay. S.F.ISTOHAVE GERMAN OPERA. Eugene Qooseos The third Municipal Popular Concert of the 1926-27 series to be given by the San Francisco Symphony Orchestra in Civic Auditorium next Thursday night, will present Guy Maier and Lee Pattijson, piano duetlsts, as guest artists. Alfred Hertz will conduct. Hutcheson's concerto for two plands is the vehicle selected by Hertz fdr the pianists and the orchestra.

The composition has never been heard in San Fran-eisco, and has been played but few times in any other part of the country. The purely orchestral numbers chosen for the Thursday night event are Schumann's First Symphony and the "Don Juan" of Richard Strauss. One of Tschai-kowsky'a compositions will probably be added, according to Chairman Franck R. Havenner of this Auditorium committee, Maier and Pattison are Americans, but their fame In two piano numbers Is now international. During the past few seasons they have carried their programs to Australia, New Zealand, Hawaii, and more recently to Europe.

Speaking at the recent convention of the National Association of Music Teachers, Eugene Goosens said that, the dominating Influence of the great German masters, from Bach to Brahms, had been diminished somewhat by the composers of France, Russia, Italy and Spain, mentioning among those whose works In this respect he characterized as "epochal," Debussy, Stravlnskl, Ravel and Schonberg. He declared that while changes might have led to chaos in the world of music today, due to the ruthless elimination of nonessentials, the juxtaposition of unrelated sonorities, the tendency to revert to barbaric prlmevallsm and the threat of a break in the melodic line altogether, there might appear some new Bach, having an influence which would tend to stabilize and correlate the present divergent tendencies. Goosens wiil visit San Francisco in the season. The national voice of the drama of Russia has always expressed itself through the medium of pantomime and the dance. So it la with the Russian Ballet, which San Francisco is again to view at the Columbia Theater tomorrow night, this time with Mikhail Mordkin at its head.

Mordkin is presenting programs of dance set to music, to be interpreted by an orchestra with Vladimir Bakaleynikoff wielding the baton. Bakaleynikoff came to this country first at the invitation of Morris Gest to conduct the orchestra for Stanis-lawsky's Moscow Art Theater company, and when Stanislawsky and his organization of players returned to Russia he remained with Mordkin to take charge of the music of the present tour of the imperial ballet. During his coming visit Mordkin and his confreres, notable among whom are Vera Nemtchl-nova, premier danseuse, Pierre VladimirofT, premier danseur, Hilda Butsova, formerly leading ballerina with Pavlowa, Nicolai Zveroff and others, will present three programs. On Monday and Friday nights, next week, and at the matinee on Wednesday, "Carnival," based, on the old love story of Pierrot and Pierret, Harlequin and Columbine, will be the main feature. in the unfolding of the story excerpts from Glazounoff, Moussorgsky, Glinka, Tscherep-nine, Liszt and Schiabin have been woven together.

The program for Tuday, Thursday and Saturday nights' features the familiar "Aziyada," Arabian Nights legend, which introduced the Diaghileff ballet to San Francisco. A special musical score composed by the young Russian, Joseph Guidel Is the setting and Boris Anisfeld ha.i designed a gorgeous production Featuring Mordkin's third program is "Souvenir of Roses," called "Cho-piniana'1 because its music is taken from the works of the great Polish master. TheMordkin organization nem-bers over seventy-five. The engagement In San Francisco is for one week only, and Is under Sclby C. Oppenheimer's management.

A varied program, including the first presentation here of excerpts from "Le Coq d'Or," two Kreisler numbers and a symphonic poem by a Californian, Edward F. Schneider, are outstanding features which the San Francisco Symphony Orchestra will offer In connection with its sixth popular concert to be given this afternoon. Alfred Hertz, director, is laying special emphasis on four musical tableaux from "Le Coq d'Or," by Rimsky-Korsakow, the last of fifteen operas written by the Russian composer. Although written in 1907, It was not presented in the United States until 1917, when produced by the Metropolitan Opera Company. The first number of the suite contains the introduction to the opera and extracts from the first act.

The second and third tableaux are made up of music from the second act, while the fourth tableau gives the introduction and synopsis to the third act. The opening number of the concert will be Mendelssohn's overture, "Fingal's Cave." The third number of the program is tho Weber-Welngartner "Invitation to the Dance." Much interest has been especially aroused in connection with the fourth number, "Sargasso," by Schneider, who has been the author of two of tho annual grove plays of the Bohemian Club. The work is based on a legend of the Sargasso Sea by Don Bryne. The two Kreisler numbers wil be "Liebeslied" and "Llebesfreud," "Love's Sorrow" and "Love's Joy." The orchestration of "Liebesleid" was made by Hertz, while that of "Liebesfreud" by Frederick Stock. The concluding number will bo Hugo Alfven's Swedish Rhapsody, "Midsommervaka," a fantasy of Swedish folk melodies based upon a music festival still celebrated in remote parts of Sweden at tho height of the midsummer season.

The entire concert will bo broadcast over KPO, KGO and KFI, beginning at 2:45 o'clock. The eighth pair of symphony concerts to be given Friday and Sunday afternoons, January 21 and 23, will be featured by the appearance of Ernst von Dohnanyl, eminent Hungarian pianist-composer-conductor. Dohnanyi has been invited by Hertz to conduct his own symphony in minor, which will be heard here for the first time at this occasion. Ho will also appear in Beethoven's concerto for piano and orchestra, major. The third number will be Handel-Wood's Concerto Grosso, No.

12, in minor, for two silo violins, solo 'cello, string orchestra and organ. This latter number will also toe a first time event here. Mische. Piastro Mr. Marcos Garcia Huiddbro, consul-general of Chile, and Ber-nabe Roxas Soils, composer-pianist, will give an invitational recital of songs and piano numbers a the Hillcrest next Thursday eveninfi at 8:30 o'clock.

Among the songs that Mr. Huidobro, baritone, will offer Is a group of Spanish melodies, folk songs of Chile. Mr. Soils, who came to this country from Manila, brought with him the reputation of being called the "Paderewskl of the Philippines." The two artists will offer the following program: Malgre Mot p. Tosti Le Mirotr (request) Ferrari Chanson du Caeur Brise (request).

Moya Minuet Exaude Hon. M. Sonata in minor Schumann Mr. Soils Vorrel Morlr Tosti Rlmnlanto (request) Torna l. Denza Io son l'Amore p.

Tostl Hon. M. Pleagaria Granados Polonaise Llzst-Busoni Flor Querida (My Darling Flower) Popular Tango Patotero (reouest) Freire Gnarda esta Flor (Treasured Flower) Popular Jaranadas B. R. Solis Hon.

M. The words and melody of Mr. Soils' recently published song, "Jar-anedas." were inspired by Filipino themes. answered: i cannot ten wuu cer uumj mcj wwo uuauuiuiuucu, directly, indirectly. I could seize them with my hands, out in the open air, in the woods, while walking, in the silence of the night, early in the morning, incited by moods which are translated by the poet into words, by me into sounds that roar and storm about me until I have set them down in notes." He said further: "I carry my thoughts about with me for a long time, often a very long time, before I write them down.

Meanwhile my memory Is so faithful that I am sure never to forget, not even In years, a theme that has once occurred to me. I change many things, discard and try again till I am satisfied. Then there begins in my head the development In every direction, and, Inasmuch as I know exactly what I want, the fundamental idea never deserts me; it rises before me, grows; I see and hear; the picture in all its extent and dimensions stands before my mind like a ghost There remains nothing for me, nothing but the labor of writing it down, which is quickly accomplished when I have the time. Sometimes I take up other work, but never to the confusion of the other." How stern was the self-criticism to which Beethoven subjected himself before he decided that the material was ripe for development may be learned from the sketch-books. Nottebohm says that in those little manuscript volumes there is material for fifty symphonies.

He made a dozen attempts at the air Hoffnuug" In the opening theme of the minor Symphony, the famous "Thus Fate knocks at the door," went through many mutations before it reached the final form. Beethoven put into his music all that life meant to him. It was not for nothing that he dedicated the "An die ferae Geliebte" cycle to Amalle Sebald or that he wrote the Fourth Symphony at the time when he was near the lovely Mathilde who was never to be his. "Love, and love alone, can give me a happy life," he wrote. "0 God, let me find her who will keep me In the paths of virtue, one I can truly call my ov But that happiness was denied him, and the ear trumpets which repose in a little case at Bonn tell the reason why.

Beethoven's loss was humanity's gain. If he had not had to express the heroism that was latent within him, we should never have had the minor Mass or the Ninth Symphony. "I will seize Fate by the throat," he exclaimed; "it shall never wholly overcome me." This rugged masculinity was blended in Beethoven's character with a deep love for his kind. If, in the "Eroica," he pictures Napoleon the emancipator, in the Ninth Symphony he is the preacher of the doctrine of the brotherhood of man. From boyhood onward he had cherished Schiller's sublime apostrophe to Freedom; In his ripe maturity he gave the sentiment deathless utterance.

The Ninth Symphony will be given in San Francisco in the spring, and Alfred Hertz has already proved that he and the members of the Symphony can interpret It magnificently. In Rochester, N. George Eastman proposes that there shall be a Beethoven Week, during which the composer's masterpieces shall be radioed. From one end of the country to the other Americans will do honor to the genius who, in gladness and in sorrow, devoted his gifts to doing good to his fellow man. "Peace has her victories, no less renowned than war," wrote Milton.

The life work of Beethoven is one of the greatest of those victories. He brought beauty Into the world, and to do that is to Justify the existence of mam. The series of three Beethoven Evenings, in which the entire quota of the master's sonatas will be interpreted by Charles Hart, pianist, and MIschel Piastro, violinist, continues to arouse widespread interest. The three concerts will be given in the Jinks room of the Bohemian Club, on the following Monday evenings: January 24, January 31 and February 7, at 8:30 sharp. These events are open to the general public.

The program for the first concert on January 24 follows: Sonata in major. Op. 12. No. 1 Sonata In A minor.

Op. 23 Sonaa in major (Spring) Op. 84 These concerts will be given under the local management of the Woltsohn Musical Bureau. Plans for a two and a half week season, including the production of thirteen operas, with two novelties and three revivals were outlined yesterday at the annual meeting of the San Francisco Opera Association held in the Italian room of the St. Francis Hotel.

Robert I. Bentley, president of the San Francisco Opera Association, presided. The novelties to be presented are Glacomo i i's posthumous work, "Turnandot," presented for the first time in this country- by the Metropolitan this season, and "La Cena delle Beffe" (The Jest) by Umberto Giordano. Of the three revivals, one is to be Wagner's "Tristan and Isolde" which is to be sung in German. This is the first venture of the San Francisco Opera Company in German opera.

At the request of Gaetano Merola, general director, Alfred Hertz, conductor of the San Francisco Symphony Orchestra and for many years Wagnerian conductor of the Metropolitan, will conduct this performance. The other two revivals are Verdi's "Falstuff" and Thomas' "Mignon," the latter to be sung in French. In the standard repertoire will be Verdi's "Aida," Puccini's "La Boheme," Leoncavallo's "I Pagll-accl," Puccini's "La Tosca," and Verdi's "II Trovatore," al lin Italian, and Bizet's "Carmen" and Gounod's "Romeo et Juliette," both to be sung in French. Coupled with this announcement, was the report of Edward F. Moffatt, secretary-treasurer of the Opera Association, showing that the fourth annual season last fall was a financial success on a scale equal to that of the previous years.

The season of last fall consisted of twelve performances and took in a gross of $168,344.72. The total cost of the season was $166,009.62, leaving only a nominal profit of $2,285.10 due the San Francisco Opera Association. The average receipts per performance was $14,028 and the average cost $13,838.30. The association's resources, consisting of cash and capital Invested in scenery and properties, are $126,337.82. This is approximately the same amount as the Opera Association started out with five years ago when public spirited San Franciscans subscribed $125,000 toward founder memberships in the San Francisco Opera Association.

The artists bo far engaged for the coming season include Giovanni a 1 1 1 1 1, tenor of the Metropolitan Opera Company, who sang here during the first season of the San Francisco Opera Company; Lucrezia Bori, the famous Spanish soprano; Antonio 1 1 1, baritone of the Metropolitan, and considered one of the greatest impersonators of Falstaff; Lawrence Tlbbett, Elsa Alsen, Wagnerian soprano, and Kathryn Meisle, mezzo-soprano, the latter appearing here last season with the San Francisco Opera Company. The fifth annual season will open September 19 and close October 7. The following were elected to the board of governors of the Opera Association: Wallace M. Alexander, Frank B. Anderson, Catherine Urner Debussy MSS.

The production of Alban Berg's modernist opera, "Wozzek," aroused so much feeling In Prague that the authorities forbade further representations. Whether the trouble arose from chauvinism, or whether the musical daring of the work offended the purists, it is difficult to find out. But the following letter, written by K. B. jTrak of the Prague Club of Music Friends Is interesting for the light it throws on the subject.

Mr. Jirak's letter is printed in the New York "Times." "The unbelievable occurrence which followed the brilliant performance of Berg's 'Wozzek' at the National Theater has stirred Prague music circles to send in their protests. There is not a single Czech artist of note who approves of the action taken by the authorities. I was among the critics who received 'Wozzek favorably as an art-product, and I expressed myself with reserve as to the musical style of the work. But this reserve must stand aside when the freedom of art is In question.

It is to be deplored that the authorities forbade any further representation of 'Wozzek' because six subscribers protested and about twenty people used whistles and trumpets to create a disturbance. One could understand the subscribers protesting against something they knew, but not against an opera they had never heard. It is notorious that these people were Incited by certain publications." Ignace Jan Paderewskl, the world's premier pianist will be heard in concert in Oakland Auditorium Theater on Sunday, January 30, according to Selby C. Op-penheimer who is managing the engagement. This is the only ap pearance Paderewskl Is to make in Northern California, and it is In Oakland, because of the fact that the pianist could not lr ilude that city in his last tour due to lack of time.

Albert M. Bender, Robert I. Bent-ley, Charles A. Chrlstin, Horace B. Clifton, Miss Mary C.

Dunham, Milton H. Esberg, Mrs. Charles N. Felton, Charles N. Field, Mrs.

William M. Fitzhugh, Mrs. Lawrence W. Harris, Timothy Healy, Mrs. Marcus S.

Koshland, Mrs. Frank W. Leis, Miss Edith Liver-more, Mrs. M. C.

Porter, William T. Sesnon, Fred R. Sherman, Mrs. Ernest 8. Simpson and Mrs.

M. C. Sloss. The Wolfsohn Musical Bureau announces that Catherine Urner, American soprano, will be heard here in song recital, Friday evening, January 28, in Scottish Rite Hall, at 8:20 sharp. Miss Urner is a California girl and former resident of Bakers-field.

She has not only won distinction in this country, but also scored exceptional success abroad. Miss Urner, besides being a singer of note, has also won laurels as a composer. She was awarded the Prix de Paris for composition by the University of California, Pier first string quartet was performed with success by the Krett-ly Quartet in Paris last season. The Concert Society of the Paris Revue Musicale Invited Paul Hin-demlth to revisit Paris, where he begins to be known and appreciated. His quartets, opus 16, opus 22 and opus 32, have been played several times, as well as his string quartet His concertos have been presents by the orchestras.

Paul Hindemlth came with the Amar Quartet, in which he plays the alto part, and his brother the cello. The carillon recitals on the Rockefeller Memorial Carillon of the Park Avenue Baptist Church are being offered on Sunday evenings. Some unpublished fragments of the score composed by Debussy for the performance of Shakespeare's "King Lear" at the Odeon have been exhumed. This unfinished scenic music remained in the composer's case until it was played by the Societe Muslcale Independents and the Pasdeloup and Colonne orchestra. They add little to Debussy's story; these two short pieces resembles greatly the interludes In Pelidas.

The first one, called "Fanfare," unites the sonorities of trumpets, horns, harps and cymbals. The second, "The Sleep of King Lear," is far more Interesting. The horns softly sing the melody to the accompaniment of a string quartet and harp. It has great melodic charm and deserves to survive, although it cannot be classed among the best works of the master. N.

Y. "Time." Francois Villon is the hero of a three-act opera, with mule to be compoed by Eugene Goossens, the English conductor-composer who now heads the Rochester Philharmonic orchestra, and English libretto by Charles Henry Melt-zer. At three points Mr. Meltzer has borrowed passage from Villon's ballades and rondels. V.

The only existing copy of the "Stabat" of Alessandro Scarlatti has been discovered at Biena by Count Chigi. At the Kathleen Branson school, Ross, next Sunday afternoon, William Laraia, violinist, and Mrs. Elsie Cook Laraia, pianist, will be heard in concert. Here is. the program: Rondo Caprlccloso Mendelssohn Elsie Cook Laraia La Fella Corelll William F.

Laraia Etude In flat major Chopin Nocturne In major Chopin Scherzo In flat minor Chopin Elsie Cook Laraia Poem Fiblch La Chasse Cartler-Kreisler Ave Maria Schubert-WDhelmy Der Zephir Hubar William F. Laraia Dance of the Gnomes Liszt La Campunelia Liszt Elsie Cook Laraia Polonaise In malor Wleniawski William F. Laraia The 1927 biennial of the National Federation of Music Clubs which will convene in Chicago in April comes two months earlier than formerly. Therefore, all young musicians are urged to at once secure the circulars from the state chairman, Mrs. Edward R.

Place, 251 Ashbury San Francisco, and become thoroughly familiar with the required programs. The State federation hopes that some of California's finest talent will be represented at Chicago In the finals, and plans are under way to assist the winners to go to Chicago. George Gershwin To Play Chimes The program for the Ida Gregory Scott Fortnightly on Monday January 24, Hotel Mark Hopkins, will be devoted to modern songs and interpreted by Herbert Gould, basso contante. Gould is American born and has received his musical education in America. In opera as well as in oratorio he has won distinction.

He is much in demand for the leading role of tno Messiah, which he has sung sixty-three times in the last two seasons. The Fortnightlys are given In the Room of the Dons on the second and fourth Mondays of the month at eleven in the morning under the direc'ion of Ida Gregory Scott. Arthur Bliss and Henry Eich-heim were Introduced at tho Fortnightlys as well as Alfredo Casell. Rehecca West, the English novelist, and Marcel Grand-jany. Eugene Goossens and Robert Imandt, French violinist, will toe iere oon.

George Gershwin's new group of piano preludes, first played In public at the Roosevelt Recital at the Hotel Roosevelt on December 6. are soon to be published In a series entitled "The Melting Pot." At Geneva a complete performance was given "Pelleas" In oratorio form. The score directed by Ernest Ansermet, end was cordiall received. The chimes will be played by Ruth Muzzy Connlston, organist of Third Church of Christ, Scientists, In Boston, who la believed to be the only woman carillonneur in this country, r'r Harold Samuel, who recently arrived from Europe, will give New York Its first festival of Bach piano music, giving six concerts in six days vt Town Hail..