12 BROOKLYN LIFE ' ..tj'J-- : J Musical Notations ;- ALBERT GOATES opens his third season as guest conductor of thd Stadium Con- certs Monday evening. The first program of his three weeks' regime includes the Dvorak Carnival Overture, the Prelude to Moussorgsky's "Khovantchina,'' Strauss' Don Juan, and the Divine Poem of Scriabin. The last work is being played in response to numerous requests. Tuesday brings two popular short numbers, the "Tannhauser" Overture, and the Marche Slave, a novelty in the form of W". H. Reed's "The Lincoln Imp," and the Brahms Symphony No. 2. William Henry Reed is an Englishman, born in 1876, well known as composer and violinist." He studied at the Royal Academy of Music,, where he has been a teacher for many years. He has been a member of the violin section of the London Symphony Orchestra since its formation in 1904 and became its concertmaster in 1912. He is accomplished both as soloist and chamber music performer and has done a good dea( of conducting. He has also composed considerably 'The Lincoln Imp," written in 1921, was first performed at the Festival of the Three Choirs, Hereford, in the same year On the title page of the score is the following explanatory -.note:. . Concerning the Imp m Lincoln Cathedral, there is a legend that when vvandering, bent upon mischief, he chanced to fall in. with the North-East wind, riding upon it until the Cathedral was sighted Desiring to enter and bidding Jhe North-East Wind await his return, the Imp proceeded within. Vaulting the benches, he espied, the bell-rope; jangled the bells; strummed upon the organ, tore the vestments to shreds, and broke the brazen candlesticks across his knees. Intending to work his crowning mischief upon the1 altar, he found his way barred by an Angel. Putting out his hand to stroke the wonderful shining hair of the angel, he was, for his presumption, immediately turned to stones - "The Nbrth-East wind still waits for him outside the Cathedral." Tomorrow evening is Willem van Hoogstraten's last appearance until August 18th. He ivill direct the Beethoven "Egmont" Overture, Mozart's Eine Kleine Nachtmusik, Waldweben from "Siegfried," Liszt's Les Preludes, and the Brahms Fourth Symphony. He leaves immediately for the Pacific Coast where he will conduct four1 guest performances in San Francisco and San Mateo. I The programs for the week are: SuHday Evening, July 27lh (Willem van Hoogstraten's last appearance until August 18th) Overture td "Egmoht". . . . ... Beethoven ' Serenade for Strings ("Eine kleine Nachtmusik") .Mozart Waldweben from "Siegfried" . . Wagner .., Les Preludes . Liszt Symphony No. 4 in E minor Brahms . Albert Coates, Conductor Monday Evening, July 28th Carnival Overture Dvorak Prelude to "Khovantchina" Moussorgsky Don Juan Strauss The Divine Poem Scriabin Tuesday Evening, July 29th - Overture to "Tannhauser" .Wagner The Lincoln Imp W. H. Reed (1st New York performance) Marche Slave ., . . ... .-. , ... . . .'. . ... , u . Tchaikovsky Symphony-No; 2 in D. ... Brahms Wednesday Evening, July 30th Thursday Evening, July 31st ' - V '" ' ' ' AllJWagner Program with soloists -" 'Elsa-Alsen, Soprano J Pajji Althouse, Tenor ' Overture to "Die Meistersinger" ' Duet from Act I of "Wie Walkure," from "Schlafst du Gast" to end of act. From Act 1 of "Gotterdammerung" Sunrise ' Duet of Siegfried and Brunnhilde: from "Zu neuen Taten'' to end of scene Siegfried's Rhine Journey Good Friday Music from "Parsifal" Love Duet and Finale from Act III of Siegfried: from "Ewig war Ich" to end of opera. Friday Evening, August 1st Overture to "Fra Diavolo" Auber Symphony No. 4 in D minor Schumann March, Scherzo, and Card Scene from Suite, "The Love of Three Oranges" Prokofieff Sinf onia in D major Rigel Fire Bird Suite. . . . i ........ . Stravinsky Saturday Evening, August 2nd Overture to "Prince Igor". Borodin Preludes to Acts III and IV, "Carmen" Bizet VJ f (From Suite No. L "Carmen" arranged by Giordano) , The Sorcerer's Apprentice Dukas Bolero Ravel Variations on a Theme of Haydn.,... Brahms Waltz: "Tales from the Vienna Woods".. J. Strauss LeV Preludes Liszt Japanese Garden at the Brooklyn Botanic Garden ' n ..;' (Continued from page 5) ' ' ... Earth and Man to the garden. The highest point, or Constructed Mountain, represents Heaven, the island or the Companion Hill represents Man, while the Earth" is . represented by the two large boulders,- On the south shore of the lake. There is a necessary artistic rhythm in the relative heights of these points in the arrangement of the garden, the Earth being represented by the lowest point, Man by an intermediate, and Heaven by the highest place in the garden. One of the most attractive features of the Botanic Garden's Japanese Garden, Mr. Matsuki states, is the small lake or Ike, which furnishes a splendid habitat for aquatic and semi-aquatic plants. Mr. Matsuki adds that the feature of the hills and water must be employed in a Japanese garden ; witfiout water or the suggestion of water a garden is not artistic. "The small lake in this garden gives a calm dignity, and the waterfall at a distance gives the garden a feeling of perpetual life. Western art is outspoken and objective (impressions from the outside), whereas Eastern art is subjective and based on continuity something doing or going on constantly. Thus, to the Japanese mind, the water in a garden must be moving, though quietly, denoting constant change, There is a certain glamor to the fact," Mr. Matsuki adds, "that the shape of this lake happens to be in the form of the Chinese letter for 'heart' in the abbreviated style of calligraphy. It must have been an ancient Japanese ideal to care for this form in making a lake." ' Mr. Matsuki's guide continues with a detailed account of the many interesting features of the garden and the reasons for placing them as they are. Recent Volumes of Poetry Reviewed Continued from page 4) " A QUEBEC BOUQUET," by Helen Slack Wickenden, The Stratford Company. Another "place book" this, and one which will undoubtedly please those who, like Miss Wickenden, have been charmed by the forests of "new France" and their engaging habitan population. The population uses free interpolations of French words and place-names to help the music of the verses, which is fair enough, but her awkward inversions and a frequent use of "poetic" words and phrases, such as "azure bliss," the noun "lay," "a-quiver," and many another, betray the amateur. Those who do not take their poetry too seriously, however, will pardon these lapses for the sake of the local color, which seems authentic. "Let's have some ginger ale." "Pale?" "No, just a glass will do." Drexerd. . Blond :JPerfectly devastating cathedral gothic, isn't it? Unpref erred : No, the guidebook says it's Catholic. Wesleyan Wasp. fnpHE POINTED PEOPLE," by Rachel Lyman Field, the Macmillan Company. These verses, although intended for and entirely suitable for children, are, like most worthwhile juvenile books, charming also to adults. The silhouette pictures, also by Miss Field, with which they are illustrated, are perfectly in keeping with the spirit of the text. The simple type and make-up have the great merit of not distracting the mind of the reader. The poems are divided in sections, each grouped under its appropriate title: "Thoughts and Feelings," "Here and There and Nowhere," "About Witches, Elves and Pointed People," "Concerning Queens and Others," "If I Were a Tree," "In Praise of Dust and Other Things,". "In the City" and "Listening," from which it will be seen that the book, though small in size, gives full measure. As for the "pointed people" of the title, they are apparently a sort of mixture of faun and elf. At least, that is what Miss Field's short description seemed to indicate. These are the sort of verses that one wants to share, so I shall give myfelf the pleasure of quoting: Now every rose-hip's orange, And every berry's bright, And every cricket singing Morning, noon, and night. Each tree not hung in russet Is gold or gipsy red, And, since I cannot be like them, I'll make a rhyme instead. I'll make a rhyme of little words, The gayest I can find, And when it's done, I'll put it on To decorate my mind. and: "London Bridge is falling down," Down, down, down Out on the green the old game goes. Bobbing heads and scuffling toes, Little bodies, round and free, Whirling, mingling dizzily, Hands stretched out all warm and brozvn To grasp, and reach again; And always comes the old refrain "London Bridge is falling doxvn," Dozvn, down, down. Oh, all you little boys and girls, With twinkling feet and sim-ivarmed curls. ,. Who have not reached the grouit-up tmvn Where all our bridges tumble down, Down, down, down, I would keep you ahvays so, Bobbing, whirling to and fro, Playing in the sun, And London Bridge the only one Of all you build to tumble down, Down, down, down.
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