January 19, 1922
MUSICAL COURIER
34
NEW YORK CONCERTS
Thursday, January 19
Philharmonic Orchestra, evening...................Carnegie	Hall
Singers Club of New York, evening..................Aeolian	Hall
Friday, January 20
Philharmonic Orchestra, afternoon.................Canregie	Hall
Emma Calve, afternoon..............................Aeolian	Hall
Concert and Ballet Intime, afternoon..................Town	Hall
Saturday, January 21
Del Negri, song recital, evening..................Carnegie	Hall
Ossip Gabrilowitsch, piano recital, afternoon. .Aeolian Hall
Marcel Salzinger, song recital, evening............Aeolian	Hall
Louis Graveure, song recital, afternoon...............Town	Hall
Concert and Ballet' Intime, evening..............Town Hall
Mannes’ Symphony Orchestra, evening...................Town	Hall
Metropolitan Museum of Art Sunday, January 22
Philharmonic Orchestra, afternoon.................Carnegie	Hall
Symphony Society of New York, afternoon.. .Aeolian Hal!
George Meader, song recital, afternoon................Town	Hall
Frederic Warren Ballad Concert, evening. .Selwyn Theater
Monday, January 23
Sittig Trio, afternoon.............................Aeolian	Hall
Elsa Fischer String Quartet, evening...............Aeolian	Hall
Tuesday January 24
Cleveland Symphony Orchestra, evening... .Carnegie Hall
Amy Ellerman, song recital, afternoon.........Aeolian Hall
Harriet Van Emden, song recital, evening______Aeolian Hall
Mrs. George Lee Bready, opera recital, morning,
Ambassador
Wednesday, January 25
Henrietta Conrad, song recital, af ternoon.... Aeolian Hall
Arthur Schnabel, piano recital, afternoon.....Town Hall
Maximilian Rose, violin recital, evening......Town Hall
Musicale at Walter Reed Hospital
An enjoyable musical program was presented recently by the Knights of Columbus at Walter Reed Hospital by leading artists of Washington. The hall was very pretty in its holiday decorations and the new Stieff piano was heard to advantage in the group of classics played by Katherine Floeckher Cullen. The participants were H. Marie Koontz, contralto, and Francis P. Heartsill, bass, members of the quartet of the Mount Vernon M. E. Church South; Mrs. John J. Stahl, soprano and director of the West Washington Baptist Choir and vocal teacher of Washington; Helen Gerrer, violinist, who is teaching at Visitation Convent, Georgetown, and Katherine Floeckher Cullen, pianist, who is teaching at Washington.
The program was arranged by George F. Schimmel, who served with the Knights of Columbus during the war, and is heard from time to time as tenor soloist during mass at the Walter Reed.
• The program follows:	Contralto—“Good Morning,
Brother Sunshine” (Liza Lehmann), “Loraine” (Wilfrid Sanderson), “Audacity” (Vernon Eville), H. Marie Koontz; Piano—“Spring Breeze” (George Boyle), “Melodie Katherine Floeckher Cullen; basso—“The Horn” (Flegier)r in E (Rachmaninoff), prelude in G minor (Rachmaninoff), “Standin’ in de Need of Prayer” (Reddick), “Down in the Deep” (Petrie), Francis P. Heartsill; violin—“Souvenir” (Drdla), “Schoen Rosmarin” (Kreisler), “Liebesfreud” (Kreisler), Helen Gerrer; soprano—“Slave Song” (Del Riego), “Greetings” (Hawley), “Love Is the Wind” (Mac-Fadyen), Mrs. John J. Stahl.
The artists were the guests of Secretary William L. Kelley and Lieut. Chaplain T. L. McKenna at supper following the musicale.	__________
Recital by Pupils of Francis Rogers
Sunday afternoon, January 15, seven pupils of Francis Rogers sang for an enthusiastic audience of music lovers at Mr. Rogers’ residence studio on Sixty-second street. Of the seven, six are professional singers engaged actively in church and concert work, as follows:	Carmen Reuben,
Marjorie Greiner, Floyd Daggett, Raymand Freemantle, Albert Dettinger and E. F. Bishop. The program ranged from Mozart and Beethoven to Negro spirituals, and gave the young artists ample opportunity to display the soundness of their vocal technic, as well as their versatility in interpretation.	__________
Havana’s Tribute to Sousa
The advance subscription sale for the Havana engagement of Sousa and his band was $10,000, according to a cable just received by his New York office.
The
School of Experience
An institution ,where young men and women acquiring operatic repertoire can individually interpret their roles on the stage of the Miniature Theatre under the personal direction of Mr. Milton Aborn.
For further particulars and catalog address
SECRETARY 137 West 38th Street Fitz Roy 2121
slips found large favor with the devoted auditors. The composition is too long for the nature of its contents, and good old Brahms easily might have lopped off a movement or two (the work has five) with good effect. Mozart’s double concerto for harp and flute, another lengthy opus, followed the serenade, and was played beautifully by Messrs. Salzedo, Maquarre and the orchestra. Conductor Bodanzky led both pieces with evident love and reverence.
Ravel’s “Scheherazade,” three poems for voice and orchestra, were sung by Estelle Liebling, who performed a remarkable feat in memorizing the long texts, giving them with exquisite French diction, and illustrating them vocally with inexhaustible resource of color, dynamics and interpretative nuances. It is exceedingly difficult music to sing and would be impossible for anyone not blessed with a perfect ear, accurate intonation, and deeply grounded musicianship. AH those qualities are possessed by Miss Liebling in marked degree. She was a source of unqualified delight to the listeners, who applauded her warmly. The Ravel orchestral score is full of enticing and picturesque music, always suggestive of the moods it tries to evoke, and never lacking in artful, delicate and aristocratic instrumentation.
Feodor Chaliapin
On Sunday afternoon, at the Hippodrome, Feodor Chaliapin, the Russian bass, made his final appearance in concert, assisted by Josef Stopak, violinist; Nicolai Levienne, cellist, and Leo Berdichevsky, pianist.
St. Olaf Choir
The St. Olaf Choir, from St. Olaf College, Northfield, Minn., which made such a fine impression when it first appeared in the East two or three seasons ago, gave a concert before a house crowded with enthusiastic auditors at the Brooklyn Academy of Music on Sundaj- afternoon, January 15. The same program was repeated at the Metropolitan Opera House on Tuesday evening, January 17, and the detailed review is consequently deferred until the next issue of the M.usical Courier.
Johnston Recalls Saint-Saëns
One of the few Americans who knew the late Camille Saint-Saëns well was R. E. Johnston, the manager. It was Mr. Johnston who, in 1893, introduced to America his “Rondo Capriccioso,” with Henri Marteau as the artist. In the summer of 1894, Mr. Johnston was in Brussels arranging the first tour of Ysaye in America. The question arose as to what he would play at his debut. After hearing almost the entire repertory it was decided that the great Ysa3re at his American debut would play—with the New York Philharmonic Society, Anton Seidl conductor— two modern concertos, namely: Saint-Saëns’ B minor No. 3, and Max Bruch’s “Scottish Fantasie,” neither of which had then been heard publicly in this country. On his five subsequent tours, Ysaye played the Saint-Saëns concerto more than one hundred times.
When San Francisco had its exposition in 1915, Saint-Saëns was sent by the French government to that exposition in the capacity of a representative of art. As he was leaving America, he called at Mr. Johnston’s office to say good-by and to discuss music in general, and he mentioned particularly his concerto, No. 3, which, he said, had been dedicated to Sarasate, but made famous by Ysaye. Before the great French composer left he autographed a photograph of himself as follows: “To R. E. Johnston, an admirer and enthusiast of my violin pieces, the B minor concerto, No. 3, and the ‘Rondo Capriccioso.’ ”
Liederkranz Anniversary Concert
The Liederkranz of the City of New York gave its seventy-fifth anniversary concert in the ballroom of its club house on East 58th street. The hall was beautifully decorated and took on a festive appearance appropriate for the occasion.
The concert opened with Beethoven’s “Leonore” overture, played by the orchestra. Choral numbers with orchestra, as well as a capella, were rendered.
Elena Gerhardt, who was in unusual good voice, sang two groups comprising Suleika’s song. No. 2, Schubert; the same composer’s “Der Tod und das Maedchen,” Brahms’ “Vergebliches Staendchen” and “Der Schmied,” Schumann’s “Provenzalishes Lied,” and “Der Nussbaum,” as well as two Strauss songs — “Hat gesagt — Bleibts night dabei” and “Cacilia.” Her artistic and highly finished renditions won enthusiastic applause. She was recalled again and again.
The concert closed with excerpts from “Die Meister-singer von Nuernberg,” comprising the overture, chorus for mixed voices (“Wach auf”), baritone solo, mixed chorus and orchestra (“Ehrt Eure Deutscher Meister”) in which Robert Leonhardt sang the solo part.
Olive Nevin Sings for Wellesley Club
At the recent annual meeting of the Pittsburgh Wellesley Club, Olive Nevin was the featured soloist. The speaker of the occasion was Prof. Hamilton C. MacDougall, the director of the music department at Wellesley. Miss Nevin’s opening group immediately preceded Mr. Mac-Dougall’s address, and as an introduction for him the last song was his own, “All My Heart this Night Rejoices,” which he wrote for and dedicated to the soprano. Last December Miss Nevin gave the song its inaugural hearing at Wellesley at the Christmas Vesper Sendee.
Mary Garden Breaks Precedent for Namara
Many are the stories being told about Marguerite Na-mara’s recent debut appearance with the Chicago Opera, but one of the most interesting of these is the fact that Mary Garden broke a life-long precedent by coming to hear Namara’s matinee performance in “Thais.” although she, herself, was going to sing “Carmen” that same night. In this connection, too, it was also remarked that the im-presaria of the Chicago Opera sat in her box and applauded all through the performance by tapping her cane— which is the Garden way of denoting approval.
Muzio to Make Re-appearance at Metropolitan
Claudia Muzio will make her reappearance at the Metropolitan Opera House on Wednesday evening, February 1, in “Aida.”
NEW YORK CONCERTS
(Continued from page 29)
art entitles him to be classed as one of the leading pianists now before the public.
His re-entry before a New York audience was particularly gratifying. He was cordially received the moment he made his first appearance, and after finishing his first number the audience’s enthusiasm knew no bounds. .
New York Philharmonic Orchestra
It was a spirited performance of that shortest of all Beethoven symphonies — the eighth — with which Josef Stransky opened the Philharmonic Orchestra concert at Carnegie Hall on Sunday afternoon, January 15. Next came the second performance this season of Henry Hadley’s latest symphonic poem, “The Ocean.” The work was reviewed at length in these columns when first presented. Sunday it was again conducted by its composer and again made the same excellent impression on the audience, Mr. Hadley being recalled several times to acknowledge the applause. After the intermission Bronislaw Huberman played the Tschaikowsky concerto with a warm appreciation of his musical content and that finished technical proficiency which marks all his works. It pleased the audience tremendously and the artist was called on to return to the platform and bow his thanks repeatedly. To end with, there was an excellent playing of Smetana’s familiar symphonic poem, “Vlatava,” that echo of “Rheingold.”
Friends of Music: Liebling, Salzedo, Maquarre, Soloists
Brahms’ serenade in D, op. Ill, was the opening number at Town Hall last Sunday, and despite some technical
Frank Cnthbert
Basso־ Cantante
Montreal Gazette, Jan. 9,1922 “Exhibited a fine voice full of resonance—sang with splendid effect winning deserved encore.”
Toronto Mail & Empire,
Jan. 11, 1922.
“Has a rich and pleasing basso. Interprets with excellent taste.”
Pittsburgh Post, Dec. 28,1921, “If you have never heard Frank Cuthbert sing ‘Why Do the Nations,’ be sure to get your seats on time for next Christmas week.”
Engaged
St. Bartholomew’s Church, N. Y.
Excl. direction
WALTER ANDERSON
62 W. 45 St. New York