32
MUSICAL COURIER	January 19, 1922
GRAND OPERA IN ENGLISH RECEIVES
SEVERE JOLT WHEN BOSTON COMPANY FAILS
Boston Society of Singers Finally Gives Up with a Deficit Approximating $40,000—E. Robert Schmitz Soloist with Boston Symphony—Heifetz’s Program—Handel's “Samson” Given—Rosing in Two Concerts
Hall, Waterbury, Conn.; 27, Vassar College, Poughkeepsie, N. Y.; 28, rehearsals in New York City; 29 (afternoon), Academy of Music, Brooklyn; 29 (evening), New York Hippodrome, New York, Arthur Shepherd conducting; 30, Fulton Opera House, Lancaster, Pa. ; 31, Victoria Theater, Shamokin, Pa.; February 1, Elgar Choir, Hamilton, Ont.;
2,	(afternoon), children’s concert, Hamilton, Ont.; 2 (evening), symphony concert, Memorial Hall, Hamilton, Ont.;
3,	Elmwood Music Hall, Buffalo, N. Y. ; 4, Haven Theater Olean, N. Y.
Alda’s Only New York Recital
Frances Alda will give her only New York recital of the season at Carnegie Hall, Tuesday evening, January 31.
Obituary
Hans Kronold
It is almost superflous to add the word “cellist” after the foregoing caption, so well known was Hans Kronold in his art. The present writer knew him as a little boy, accompanying his sister Selma Kronold to her vocal lessons at the Leipsic Conservatory, where he later began his cello studies. Selma, now also dead, ultimately became a member
THE LATE HANS KRONOLD
of the Metropolitan Opera Company in the Conried regime, singing Senta, etc., and was later the founder and director of the Catholic Oratorio Society of New York. Hans, with his father, mother and sister, came to this country in 1886, becoming a member of leading orchestras, and playing under Paur, Seidl, Dvorak and others. His artistic capabilities, however, led him to higher aspirations, and he soon left that life to become solo-cellist, and as such he travelled and played extensively over the entire country. A “steady job” for a quarter of a century past was that of cellist at All Angels P. E. Church, West End avenue, New York, and he was also specially engaged as soloist at many out-of-town churches. Genial, cosmopolitan, a first rate pianist and composer, Hans Kronold will be much missed. A widow (nee Rose Fischel of Philadelphia) and two daughters, Nora and Sophie, survive. His death, of pneumonia, occurred at the family home, Washington Heights, New York, January 10.
The funeral, held in the Universal Chapel, Lexington avenue, Janaury 13, had many musical features. Vladimir Dubinsky played Chopin’s funeral march on his cello with heart searching tone and expression, and Harry Wood-stock, organist, also headed a quartet of cellists who played “Ase’s Death.” A mixed quartet made up of Marie de Kyzer, Miss Rogers, Alexander Crooks and Earle Tucker-man, sang appropriate hymns. Rabbi Rev. Martin, Rabbi Rev. Dr. Silverman, and Rev. Delancey Townsend (the last named of All Angels’ Church, where Mr. Kronold was cellist for a quarter of a century) delivered eulogies of the much mourned cellist. It happened that in the audience were three persons who knew him in his boyhood days in Leipsic, namely, Adele Lewing, Martha Liebenstein-Lee and F. W. Riesberg, the last named of the staff of the Musical Courier. Among those who paid their last respects were Mrs. William R. Chapman (Mr. Kronold played under “the Chapmans’” direction many times in Maine), Carrie Bridewell, Dr. Franklin Lawson, John Fulton, Louis R. Dressier, John Burdett, and many others. The chapel was crowded to the last seat.
MAX GEGNA Sellisi
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ANNIE LOUISE DAVID
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to act as soloist at this, the tenth concert of the season. Needless to say, he acquitted himself brilliantly and gave much pleasure to the large audience. The program included the overture to the opera “L’ltaliana in Algeri,” Rossini; symphony in D major, Mozart; theme, variations and fugue for organ and orchestra, Chadwick (organ solo by Albert W. Snow) ; “Rhapsody on Folk Songs of the Ukraine,” for piano and orchestra, Liapounoff; three dances from the ballet, “El Sombrero de tres picos,” De Falla.
The overture by Rossini was played for the first time at these concerts, but it seems as bright and melodious as when written. Mr. Longy, as would be expected of this consummate artist, brought out fully the beauty of the solo for oboe in the introduction. The Liapounoff rhapsody also had its first hearing, and the “Three Dances,” from “The Three-Cornered Hat,” was played for the first time in America. A second hearing of these pieces might prove enjoyable and possibly bring to the listener a clearer idea of the intention and meaning of the composer.
The next pair of concerts will be given January 13 and 14.
Jascha Heifetz at Symphony Hall.
January 8, Jascha Heifetz, violinist, gave an interesting recital to an audience which filled Symphony Hall and all the seats on the stage which had been put in place for an oratorio concert in the evening. It is nearly two years since Mr. Heifetz has played in Boston, and he has become more mature, both in appearance and playing, than when he was last here. He seemed very serious, rarely vouchsafing a smile even to the spontaneous and hearty applause which his really splendid playing called forth.
The program: concerto in A minor, Goldmark; “Saraband,” “Double,” and “Tempo di Bourree” from second sonata for violin alone, Bach; “Havanaise,” Saint-Saëns; aria from “Eugene Onegin,” transcribed for violin by L. Auer; “Perpetuum mobile,” Ries; “Prize Song” from “Die Meistersinger,” transcribed by Wilhely, and “Introduction and Tarantelle,” Sarasate.
Handel’s “Samson” Heard.
Sunday evening, January 8, the People’s Choral Union, George Sawyer Dunham conductor, gave for its eighteenth annual mid-season concert Handel’s oratorio, “Samson,” to a large audience which showed by its applause that it heartily enjoyed the work both of soloists and chorus. The former were Ruth Blackman Rodgers, soprano; Doris Gerald, contralto; Henry C. Moeller, tenor, and Herbert Wellington Smith, baritone, all of whom were wholy efficient for the requirements of the music which fell to the different voices. Miss Rodgers has a voice of rather lyric quality, crystal clear, a well developed trill, and “Let the Bright Seraphim” seemed well within her powers. Mr. Moeller gave a splendid interpretation of the tragic recitative “Oh, Loss of Sight,” the aria “Total Eclipse,” and we can always depend on our admirable Boston baritone, Mr. Smith, to sing his lines in a hearty, manly style, and with a clear understanding of the meaning of the text—in the aria of Manoah, first glorying in the deeds of the unconquerable Samson, then mourning the loss of his son, then the taunting, sarcastic Harapha in “Honour and Arms”— and the duet with Samson—returning to the beautiful aria, “How Willing My Paternal Love.” It was very good to hear.
Mr. Dunham conducted with authority the chorus and orchestra heeding his plain, straightforward beat, for the most part with a clear attack.
Rosing in Two Concerts.
January 9 and January 11, Mr. Rosing sang to increasing audiences, seemingly having a better understanding of the man and his ideals than was felt at his first appearance. Monday evening, as will be seen by the program, was wholly devoted to love songs by the composers of different nationalities and varying methods of expressing the thought of the poets. 'The singer used less “stage business” than in his first appearance last week, and showed his ability to express himself in real vocal tone color, and in extended variety. His program for Monday evening was as follows : “Invocation to Love,” Scott; “Romance of Sinodale,” Rubinstein; “Isobel,” Frank Bridge; “J’ai peur d’un Baiser,” Szulc; “Song of Levko,” Rimsky-Korsakoff; “A Love Song of the Village Idiot,” Moussorgsky; “The Goat,” Moussorgsky; “Lord Rendal,” Somerset folk song; “Phidyle,” Duparc; “Mes Joies,” Chopin; “Southern Night,” Rimsky-Korsakoff; “A Dream,” Grieg; “Again Alone,” Tschaikowsky; “Don’t Sing the Song of George,” Rachmaninoff; “Thy Hand Beloved,” Purcell, and “Love Went a-Riding,” Frank Bridge. His program for Wednesday evening. January 11, was all selected from songs of Moussorgsky.	A. R. F.
George Meader’s Song Recital
George Meader, tenor of the Metropolitan Opera Company, will give a song recital at the Town Hall on Sunday afternoon, January 22. His program will consist of an aria from Mozart’s “Cosi fan Tutti,” scheduled for the Metropolitan this season, and songs by Wolf, Schumann and Brahms.
Meluis Guest of Honor at Rubinstein Club
Luella Meluis, coloratura soprano, was the guest of honor at the thirty-fifth anniversary of the Rubinstein Club at the Waldorf-Astoria on Tuesday evening, January 17, on which occasion she sang several numbers with flute accompaniment.
Schedule of Cleveland’s Eastern Tour
The Cleveland Orchestra. Nikolai Sokoloff conductor, will visit the following cities on its second Eastern tour: January 23, Carnegie Hall, Pittsburgh; 24, Carnegie Hall, New York; 25, Symphony Hall, Boston; 26, Buckingham
Boston, Mass., January 14, 1922.—The Boston Society of Singers, which began with grand opera in English, later giving light operas such as the “Mikado” and “Jack and the Beanstalk,” at the Arlington Theater, has finally given up the task, with, it is reported, a deficit of about $40,000, and the theater is dark for the present.
The People’s Symphony Orchestra will transfer its concerts from the Arlington to St. James Hall on Hunting-ton avenue, beginning with Sunday, January 15.
Artist Pupil From Arthur J. Hubbard Studios.
Prominent among the artist pupils of the Arthur J. Hubbard studios is Edith Bullard, soprano, who has already filled engagements in Cambridge and Boston in October; Fall River, Cambridge, Foxboro, Lynn and Dover, N. H., in November; Lewiston, Me., Malden and Boston City Club in December. ׳ In January she will sing in Milford, Boston, Cambridge, Walpole, South Berwick, Me., and Manchester, N. H. Miss Bullard has many dates already booked for the balance of the season, among which is her Boston recital, which will be given on February 7 in Jordan Hall.
E. Robert Schmitz Soloist With Boston Symphony.
At the last concerts of the year, December 30 and 31, by the Boston Symphony Orchestra, Pierre Monteux conductor, E. Robert Schmitz, pianist, was called upon at short notice, on account of the indisposition of Louise Homer,
Pauline Watson
VIOLINIST
1922
Jan. 9. Ottawa
11. Kingston 13. Brantford
26. Boston
Feb. 3. Quebec 6. Troy
8. Poughkeepsie 11. Easton
13. Elmira
16. Shamokin
17. Williamsport
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NEW YORK CITY