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MV SIC AL COURIER
January 19,1922
passioned passages, and those passages where the dramatic intent demanded a veiled tone. His technic is finished and he possesses a thoroughgoing knowledge of breath management, even to the extent of using short breaths for the expression of torturing emotion. It is a pity that he should have resorted to the cheap theatrical trick of having the lights lowered at the end of the Schubert cycle. Elly Ney, and other artists of the highest rank, have introduced lighting effects into their recitals, but it is poor taste and does not appeal to the public. Such things have been worn threadbare in the motion picture houses of America, a fact of which these foreign artists are probably not aware.
Walter Golde played the accompaniments in so masterly a manner that he was forced to share in the applause. There were several encores.
Alexander Siloti
Alexander Siloti gave a recital in Aeolian Hall on Sunday afternoon, January IS, this being his first New York recital appearance after an absence of twenty-three years.
The eminent Russian pianist played his program numbers with all the fire, warmth and virility of a youth, retaining the traditional brilliance of his great master, Franz Liszt. He opened with a group containing “Andante and variations,” Schubert-Liszt; Chopin’s etudes, Nos. 19, 26 and 13, as well as the same composer’s ballade in A flat, op. 47, in which the poetic side of his art predominated, while in the Liszt numbers—Étude in D flat, “Consolation” No. S, and “Rhapsody” No. 12—■his brilliance was outstanding. His playing of the two Bach groups, comprising organ prelude in E minor (transcription by A. Siloti), Chaconne (Busoni transcription), Organ prelude in G minor, five preludes from the “Well Tempered Clavier,” and prelude from Suite No. 4 for violoncello (transcription by A. Siloti), which closed the program, revealed him as a deepthinking, dignified and sincere musician whose exceptional (Continued on page 34)
his own country and in other parts of Europe both in opera and concert but is practically unknown here. He proved to be a welcome addition to the season’s offerings. He has first of all—and this is by no means unimportant—a pleasing personality and an attractive presence. His program indicates, too, that he is of a serious nature with a fondness for the classics. At this time when societies are being formed everywhere for the protection and production of the classics, this trait will be appreciated, especially so as in the case of Mr. Jung, it is wedded to a real understanding of the classics and an ability to interpret them as they should be interpreted—no mean achievement, to be sure!
Handel, Bach, Schubert and Schumann were the classic masters represented on this program, and there were three songs by O. Schoeck, sung for the first time in America. It may be said that the “piece de resistance” was “The Winter Journey,” by Schubert, the twenty-four songs having been arranged in narrative form by the singer. This means that the order of the singing was arranged to suit the story, and that prose interludes were printed in the book of words, but not sung, detailing the progress of the lover to a broken hearted death. The idea is effective and gives to the Schubert cycle a meaning not found in the songs when taken separately. The whole thing was sung without pause, and the effect was highly impressive. Other works on the program were “Dank sei Dir, Herr,” Handel; “O Jusulein suess, O Jesulein mild,” Bach; “Jesus unser Trost und Leben,” Bach; “Vergiftet sind meine Lieder,” “Mit enien Gemalten Band,” “Parabase,” O. Schoeck; “Der Hidalgo,” "Gestaendnis,” Schumann. They were interpreted with a broad comprehension of the composer’s intentions and a vocal quality that contributed to their beauty and esthetic effectiveness. Mr. Jung sings with youthful buoyancy, and neither his program nor his manner reflected his operatic activities. The voice is well equalized throughout his entire range; which appears to be wide, and the quality of it is that valuable baritone-tenor quality so much prized—manly, but informed with an exquisite velvety timbre which held even through the im-
tions. Charles Hart, at the piano, furnished sympathetic and musicianly accompaniments.
Josef Hofmann
Now at the zenith of his powers, Josef Hofmann is recognized as one of the great piano interpreters and executors of our time. His attitude toward his art is a lofty one, free from all trickery, all appeal to the groundlings, all effort to astonish, all angling for easy applause. In Schumann’s C major fantasia Hofmann touched the topmost reaches of pianism, not to say of Parnassus. He is a true artist, grandly gifted, and his message was received with grateful reverence by an audience that filled Carnegie Hall and adored the performer.
In Bach’s “Chromatic” fantasy and fugue Hofmann gave another remarkable reading, powerful, clear, convincing, and masterly in musicianship. Beethoven’s “Andante favori” was a delightful blend of classic simplicity with romantic lyricism. The Hofmann tone had particular charm and warmth in this selection. The Beethoven rondo, “Anger Over a Lost Farthing,” was a well of pure joy, as rendered by Hofmann, with scintillating technic and compelling rhythm. Two Beethoven encores were made imperative after the rondo. Restrained and yet musically spontaneous were the presentations of Brahms’ A major intermezzo and G minor rhapsody, and they made a deep impression. Two Tschaikowsky morceaux and the Liszt-Schubert “The Trout” were other gems in the Hofmann delivery. Encores in plenty, induced by rapturous plaudits, closed the tremendously enjoyable and edifying recital.
JANUARY 15
Rudolf Jung
A surprise awaited those who had the good fortune to attend the debut recital, given at Town Hall on January IS, by Rudolf Jung, a Swiss tenor, who has been active in
NOW BOOKING
THE OUTSTANDING ARTISTIC NOVELTY
OF 1922-23
FLORENCE	PAUL
EASTON
PRIMA DONNA SOPRANO Metropolitan Opera Co.
GREAT AMERICAN TENOR
Metropolitan Opera Co.
AND
ALMA BECK
AMERICAN CONTRALTO
RUSTICANA
COSTUME from “CAVALLERIA
AND
A CONCERT PROGRAM
Program as given in Columbus, O., on Oct. 14, last with striking success. This featured the scene in costume from “Cavalleria Rusticana.”
Program
Notable press tributes in brief to Easton and Althouse as Santuzza and Turriddu, respectively, in “Cavalleria Rusticana.”
“Easton excelled as Santuzza, giving the most finished enactment of this part yet seen in Columbus.”—Columbus Dispatch, Oct. 15, 1921.
“Althouse made a swaggering and ruthless Turriddu and voiced his music authentically and with power.”—Columbus Dispatch, Oct. 15, 1921.
“Easton gave an admirable performance. She has a beautiful voice and she seemed well suited to the part of Santuzza.”—New York Herald.
“Althouse made Turriddu a vigorous, forceful young man: his voice had fire and passionate sincerity as well as unusual beauty.”—New York Mail.
“Her Santuzza proved to be one of the most dramatic we have seen. She is a singer of rare musicianship.”—New York Globe.
“Althouse is the American Muratore of the concert platform.”—Chicago Evening American.
“Her Santuzza was a moving and eloquent portrait recalling Calve in the part.”—Philadelphia Ledger.
“His singing of the part was a real triumph.”—Philadelphia Bulletin.
“She is ideal in the role. It is one of the best things she has done here. Tem-oeramentally and vocally she is very well suited to it.”—New York Telegram.
Operatic
Mr. Althouse
Operatic
Miss Easton
Operatic
Mr. Althouse
Miss Easton
Piano Soli
Pianist
Scene from “Cavalleria Rusticana1
Miss Easton Mr. Althouse Miss Beck
FOR TERMS AND AVAILABLE DATES ADDRESS
Aeolian Hall, N. Y
Exclusive Mgt
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