January 12, 1922
MUSICAL COURIER
30
FRIEDA HEMPEL,
soprano, who will he heard in concert at Carnegie Hall on the evening of January 13, assisted by Goenraad V. Bos at the piano and Louis P. Fritze, flutist. Miss Hempel’s program iciU include arias and songs by Mozart, Schumann, Schubert, Grieg, Wolff and others, aqd by request she will sing Jenny Lind’s “Echo Song,” Farley’s “Night Wind” and the “Blue Danube Waltz.”
of Mr. Friedman's suite for two pianos, a suite embracing a theme with variations, a choral and a final movement. (In this version of the Preludes, the orchestral color could not he reproduced but the performance was effective.) The other numbers of the prorgram were as follows : Rondo in \ minor, Mozart; rondo in E flat major, Hummel; Busoni's transcription of Bach’s chaconne, and several Chopin numbers—nocturne, op. 62; valse, op. 64, No. 2; etudes, op. 2a, Nos. 7-9; mazurka op. 63, and polonaise, op. S3. A large audience recalled Mr. Friedman many times.
Schnitzer Gives Recital at Jordan Hall. Germaine Schnitzer, pianist, who has not been heard in Boston for some years, gave a recital in Jordan Hall, December 5. Her program included sonata, op. 11, Schumann; ׳‘Pastorale Variée,” Mozart; scherzo, B minor, and two etudes, Chopin ; “Idylle,” Chabrier ; Saint-Saëns, toccata, op. Ill; ballet music from “Rosamunde,” Schubert; “Military March, ’ Schubert-Tausig. A fair-sized audience received the artist with warm appreciation of her art.
John Charles Thomas and Erwin Nyiregyhazi in Concert.
January 1, an interesting afternoon of music was presented by John Charles Thomas, American baritone, and Erwin Nyiregyhazi, the young Hungarian pianist who made an exceptional success when he appeared with the Boston Symphony Orchestra earlier in the season. Mr. Thomas has a voice which is flexible, warm and lyrical, rather than dramatic in quality. His singing of the old Italian arias with which he began his program showed intelligent and careful study, while his change of style upon singing the French group was noticeable, and seemed to partake of the piquant French manner which applies to the songs.
Nyiregyhazi, who is barely twenty years old, apparently not particularly robust, played his numbers with virtuoso fire and understanding. The roundness and beaut}׳ of his tone in singing passages are even more remarkable than the astonishing speed and sonority which he can bring to bear when he chooses. _ In the poetic or dramatic character of his^ conceptions, in the complete ease and mastery with which he makes his effects in a large hall, Nyiregyhazi shows the qualities which should make him one of the world’s greatest pianists.
Both soloists were repeatedly recalled and added to the program, which was as follows: “Lungi dal caro bene” Secchi; “Nina,” Pergolesi; “Care Salve,” Handel; “ Victoria, mio core, Carissimi ; “Infidélité” and “Si mes vers avaient des ailes, Hahn ; “Au Pays,” Holmes ; recitative and aria, “Vision Fugitive,” Massenet; “I Must Go Down to the Seas Again,” Densmore; “Tears, Idle Tears” Whelpley; “The Sea Shell,” Engel; “Over the Steppe!” Gretchamnoff ; and “Lend Me Thy Fillet, Love,” Brockway, sung by Mr. Thomas. “Wanderer Fantasie,” Schubert ; “Etude Heroique,” Leschetizky ; nocturne, Grieg ; prelude, Chopin; and rhapsodie No. 12, Liszt, played by Mr Nyiregyhazi.
William Janausheck played helpful accompaniments for Mr. Thomas.
Eva Gadthier in New Compositions by Moderns. Friday evening, January 6, at Jordan Hall, Eva Gauthier, the well known interpreter of modern songs, was heard in the following program: “The Three Ravens,” John Ireland; “Behave Yoursel’ Before Folk,” Eugene Goossens; “Berceuse,” Bax; variations on “Cadet Roussel,” Bridge•’ “La Metempsychose,” Durey; “Le Gloxinia,” Auric; “Les Cloches,” Honneger; “Le Bestaire, ou Cortege d’orphee ” Poulenc; Pastorale,” Taillefer; “Love, My Heart Longs Day and Night,” “La Limousine,” and “Chant de Forger-ron,” Milhaud; “The Waning Moon,” Steinert; “The Old Temple in the Mountains” and “The Feast of Lanterns” Griffes; “Wings of Night,” Watts; “Leila,” Crist;
Mariettas Lied zur Laute,” Korngold; “Ich darf nicht dankened,” Schonberg; “Sie sind so Schon, die Milden,
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BOSTON PEOPLE’S ORCHESTRA
HONORS MEMORY OF SAINT-SAËNS
Concert Made Up of Works of French Composers Attracts Large Audience-Rosing’s Interpretations Dramatic-Fabrizio Gives Postponed Concert—Friedman Plays with Duo-Art-Schnitzer’s Recital-John Charles Thomas and
Nyiregyhazi—Gauthier Plays Moderns
^Boston, January 7, 1922.—At the tenth concert of the season, January 1, 1922, the People’s Symphony Orchestra,
Emil Mollenhauer conductor, gave the following Saint-Saëns program to a large and enthusiastic audience at the Arlington Theater, with Edith Thompson, pianist, as the soloist: “Marche Heroique,” “Danse Macabre,” G minor piano concerto, ballet music from “Samson and Delilah,” and “Suite Algérienne.” Mr. Mollenhauer conducted with that knowledge of the music and the orchestra which he always shows, and with more than ordinary personal inter-est. One of the scores from which he conducted bore Saint-Saëns’ autograph. The music displayed distinctive qualities of the lamented composer, the clarity and proportion of his art, its Gallic wit, and its profound mastery of technic, concealed under an entertaining and unpretending manner.
Miss Thompson was in her element in the brilliant concerto in which, in the broad introduction, Saint-Saëns hints at the grand manner of J. S. Bach.
This was one of the most interesting programs which the People’s Symphony Orchestra has thus far given. The audience was one of the largest and most enthusiastic of the series.
Rosing’s Interpretations Dramatic.
At a concert in Jordan Hall, Tuesday, January 3, before a large and enthusiastic audience, Rosing, tenor gave the following program, which he entitled the “Soul of Russia” :
Ask Not a Song from a Singer,” Klinka; “My Beloved Country,” Gretchaninoff; “The Weeping Herb,” “Prayer for Alms,” “I Am Sitting on a Stone,” and “Ah ! My Bright Swallows,” Rimsky-Korsakoff ; “Yeremoushka Cradle Song, Moussorgsky; ‘!vocation to Snowflakes” and Ram, Gretchaninoff; “The Prisoner,” Rubinstein; “Serf Lullaby, Arensky; “Song of a Poor Wanderer,” Nevstru-off; ‘Famine,” Cui; “Night,” Rachmaninoff; “Steppe,”
Gretchaninoff ; “La Foire de Sorrotchinsky,” Moussorgsky ;
“Ah! Give Me This Night,” Bagrinovsky; “Joys on a Journey, Glinka ; “Miller,” Dorgomingsky ; “Spes,”
Borodin ; “Song of a Flea,” Moussorgsky.
Rosing has a voice of sufficient power and excellent quality, when he considers the interpretation of the given song to require sustained, legato singing, but. also has at his command a wonderful variety of tone color, even to the bestial diction of a drunken peasant. One might, perhaps
wonder about the effect upon the lady of his delivery of the love songs, especially the Tschaikowsky “Serenade” which he gave as an encore near the end of his program. However, the writer is not on terms of familiarity with the ladies of the Rusisan peasantry, and undoubtedly as Mr. Rosing is thoroughly familiar with all types of Russian character, it may be that he is right. Rosing was repeatedly recalled, and added numbers to his program. A second recital Monday evening, January 9, and a third Wednesday evening, January 11, are made up of programs ot an entirely different character.
Harry Whittemore, accompanist, had a heavy task before him and acquitted himself in an excellent and understanding manner.
Fabrizio Gives His Postponed Concert.
Carmine Fabrizio, violinist, assisted by Alfred DeVoto, pianist, gave his postponed concert at Jordan Hall, Janu-
CARMINE FABRIZIO,
violinist.
ary 4. The program:	Sonata in G, Grieg; “Morceau de
Concert, Saint-Saëns; cappriccio IX, Paganini • Romanze, Wagner-Wilhelmj; “Caprice Espagnol,” Kat-tenloeffler; “Aus der Heimat,” Smetana; “Berceuse,” Cui; Ganzonetta,” D’Ambrorio; second polonaise, Wieniawski!
Air. Fabrizio is a serious minded violinist, whose tone is warm and agreeable, his intonation for the most part excellent, and his sincerity and musical instinct in evidence at all times. A large and friendly audience gave many evidences of its enjoyment of the player and his music.
Mr DeVoto was eloquent in the piano part of the sonata, and helpful and gracious in his accompaniments.
Friedman Plays with Duo-Art.
tt ^n״a׳i., Friedman, pianist, gave a concert in Symphony Hall, fhursday evening, January 5, for the first time in Boston. He was assisted by the Duo-Art ; that is to say, his recording of one piano part was reproduced by the Duo-Art, while he played the other part. This interesting combination, in the nature of an exhibition of the ingenious mechanical instrument, was used in the performance of Liszt’s arrangement of “Les Preludes,” for two pianos, an arrangement published with the orchestral score of the symphonic poem many years ago; also in the performance
Management HAENSEL & JONES, Aeolian Hall, New York
QFbdanb ХпйШШр of 0)uatr
3146 Euclid Avenue, Cleveland, Ohio
ERNEST BLOCH, Musical Director
THE NEW TERM—
February Sixth Begins the New Term
Among the advantages to students are the Institute Chorus (under Mr. Bloch’s direction) and the Ensemble Classes.
Mrs. Franklyn B. Sanders, Executive Director