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When the Poland-born musician Paul Kletzki, made his first New York appearance recently at the head of the Philadelphia Orchestra, critical attention focused upon him with considerable intensity. Only a few days earlier, it had been announced that the Dallas Symphony, formerly led by Walter Hendi, had contracted Kletzki as music director for the 1958-59 season. Officials of the orchestra, it is said, had heard him conduct a pair of concerts in Cincinnati last month; had invited hint to Dallas; and speedily fixed upon an agreement. To begin with Kletzki's reading of the first work' on the program--Brahms's Fourth Symphony, was the most peculiar, one has ever heard. His tempt were slow enough to place the interpretation roughly into the category, of Germanic performances.

This article presents a critical appraisal of a symphony performance in New York City, which was written by Gustav Mahler. It was played by the Philadelphia Orchestra, while the choral parts were sung by nearly a thousand trained singers, members of several choral societies in the city. The performance was very good. Unfortunately, the game did not seemworth the candle. Mahler never intended that his eighth symphony should be sung by a chorus of a thousand. He had in mind a choir of a few hundred, but his manager in Munich saw a chance to do something big.

Reports on developments concerning musical events in New York as of May 22, 1989. Presentation of Wagner's four-day "Ring des Nibelungen"; Riverside Symphony concert in Alice Tully Hall; Brooklyn Philharmonic Frederick P. Rose Prize Competition.

Lists musical performances in New York as of May 1, 1989. Metropolitan Opera; Amato Opera Company; New York Philharmonic; Philadelphia Orchestra; Cleveland Orchestra; Saint Louis Symphony; Other orchestras and choruses; Recitals; Jazz, rock, pop personal appearances.