53
MUSICAL COURIER
January 19, 1922
of the People’s Chorus of New York to commemorate its sixth birthday. Mme. Meluis will sing numbers by Bellini, Richard Strauss, Cimara, and Hageman. She will be assisted by R. E. Williams, flutist. Mme. Meluis will also be heard in one number with the chorus. Early in February she will give her second New York recital.
Myra Hess to Play with Orchestras
Myra Hess, the English pianist, will play with some of the large symphonies. She opens her orchestral dates with Mr. Stokowski, in Philadelphia, January 20 and 21, to be followed with an appearance with the Boston Symphony in Cambridge.
She has also been engaged for the San Francisco Symphony in California, under Alfred Hertz, in February, and will play with Emil Oberhoffer and the Minneapolis Symphony in Minneapolis in March.
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Addison’s solo, “Sleep, Holy Babe,”’ being sp effective that she was requested to sing it at the morning service on New Year’s Day. Tha Bach-Gounod “Meditation,” arranged for organ, harp and violin, closed the program on December 25.
Numerous Re-engagements for Rudolph Reuter
Rudolph Reuter is being demanded in the concert field more and more each season and his successes in the past have resulted in numerous re-engagements. Already this season he has played for the fourth time in St. Louis, the sixth in Indianapolis, and on February 6 he will give a recital in Boston which will mark his fourth appearance in that city. Among compositions to be included in this program are the little known Schubert sonata in B flat and the Schumann “Carnaval.” The following from the Boston Globe reflects the success which Mr. Reuter is everywhere attaining:	“But once before in ten years has
a man come unknown to our local concert halls and made such a profound, serious and commanding impression. Mr. Reuter appears to be inherently, instinctively^ a pianist. No such performance of Brahms’ ‘Paganini Variations’ is recalled from any one. Let Mr. Reuter come again.”
Zielinska in New York Concert
Genia Zielinska, young American coloratura soprano, was one of the soloists at the concert given at the Liederkranz Club on Saturday evening, January 7, for the purpose of raising money to support the opera schemes which Andreas Dippel has in mind. Her contribution to the program, the “Bell Song” from “Lakme,” was so heartily received that she gave the Brahms “Vergebliches Ständchen” as an encore.
D’Alvarez for Hotel Ambassador Musicales
Lady Jean Paul, who is better known to musicians as the composer Poldowski, has engaged Mme. D’Alvarez for the series of morning musicales which she is giving at the Hotel Ambassador, New York. The Chicago Opera contralto will give the program on February 25. This marks the tenth engagement in Greater New York this season for Mme. D’Alvarez.
Meluis Soloist with People’s Chorus
Luella Meluis, American coloratura soprano, will make her second New York appearance tonight (Thursday evening), January. 19, as soloist at the second gala concert
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WHAT THE JURY THINKS
[The music critics of the New York dailies constitute the jury in the appended extracts from criticisms which have appeared in our local newspapers. Many concerts and operas are given in the metropolis, and the following day the critics agree or disagree on the merits or demerits of the performer. However, on most occasions the writers do not agree, and this department is run for the purpose of reproducing some of the flat contradictions, showing that, after all, the review constitutes but the personal opinion of the critic who covers the performance.—Editor’s Note.]
Joseph Press, Cellist, January 6
Herald	World
His playing again demon- His tone sounded dry and strated his fine musicianship, lustreless, his beautiful tone.
Emma Calvé, Soprano, January 8
Herald
The voice long ago lost its marvelous pliancy, its voluptuous tints, its subtle shades, _ and acquired a hardness and brittleness which robbed it of much of its pristine eloquence.
T ribune
Time has dealt gently with her voice. In fact, most of the former color is still present and the enchanting timbre of her tones is still preserved.
Sun
Her voice—has the old fluency, excitiveness—liquid fire— and clearness.
World
Calve’s middle voice is almost as good as it ever was. The dark tones are still velvety in their richness, the higher still warm and expressive.
Elena Gerhardt, Soprano, January 8
Evening Mail	American
In Schumann’s “Frauenliebe She was not quite successful, und Leben” cycle, Elena Ger- it seemed, in entering into the hardt’s interpretative power had	spirit of Schumann’s “Frauenmost happy material last night.	liebe und Leben” cycle.
Ellen Rumsey, Contralto, January 9
American
Her imagination, however, seems as yet circumscribed and her emotional range limited. That was why her singing failed at any time to grip the feelings.
World
Miss Rumsey sings with intelligence and considerable feeling; she knows the meaning of what she sings and communicates a mood.
World
The gestures she employs rather too freely are a hindrance rather than a help.
Evening Journal Her vocal equipment is slender, the productions of the tone itself needing better focus.
Evening Mail
She knows how to be a little dramatic.
Evening Mail
There is a really beautiful quality in her voice; she knows how to use her talent.
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Ethel Leginska’s “From a Life,” January 9
World
It lacks continuity and meaning. Nothing beyond emotion seems to have gone into its composition.
Evening Journal The strings and woodwinds were largely handled ־ in two blocks and the distinctive quality she had at her service she rarely used except thematically.
Pianist, January 9
Herald
His general tone is often hard and metallic.
Evening Mail
Its obvious invitation to jocularity is balanced by some serious inspirations and workmanship, indicating a steady advance—toward creative significance.
Herald
There were distinct mood pictures in the composition, and some very original instrumentation.
Manfred Malkin,
World
He played with—a good tone.
Marguerite D’Alvarez, Soprano, January 10
Evening Journal It was very evident, once she had begun to sing, that she was suffering from a bad throat.
Times
Under the circumstances, her singing was not of its normal quality; it seemed evident in the beginning that her voice had not all the richness and color that are remembered in it. . . . She has sung more convincingly and with a more communicative ardor than she did yesterday; and her indisposition prevented her from doing her best.
Tribune
She sang with her customary opulence of tone.
Herald
Daniel Mayer, manager of Mine. d’Alvarez, said she was slightly indisposed and asked indulgence for her. She did not need it. She never sang so well in a recital in this town as she did yesterday.
Globe
Miss d’Alvarez speedily showed that there was little need for her prayer for indulgence. . . . Her extraordinary art was at its finest and most comprehensive.
American
Her methods seemed strained, exaggerated.
Times
There was too much of Miss Gerhardt when the audience persuaded her to add two encores.
A meric an
Taken all in all, the combination (Kochanski, Casals and Siloti) was not a happy one. In fact, the music of the two masters might well have fared better at the hands of players less famous, but more in sympathy with one another.
Evening World
There was little exhibition of those exaggerations that have featured her concerts.
A meric an
For the most inspiring contributions of the evening, decidedly, Elena Gerhardt was responsible.
Tribune
The three men (Kochanski, Casals and Siloti) played as if by a common inspiration—as
From the perfection of their ensemble, one might have supposed that they had been playing together for months.
Beethoven Association, January 10
Fine Music Heard in Philadelphia Church
The Walnut Presbyterian Church in Philadelphia has an excellent choir, Henry Lukens being the organist and musical director; Mildred L. Jones, soprano; Mabelle Addison, contralto; Bernard Poland, tenor, and J. Edwards Smith, Jr., bass. A series of special musical services has been arranged by Mr. Lukens and an especially fine program was presented on the evening of December 25, when the choir was assisted by Livia Dawson Ward, harpist, and Alexander Zenker, violinist, of the Philadelphia Orchestra. The service opened with three numbers by the organ, harp and violin. Selections from “The Story of Christmas,” by Harry Matthews, were much enjoyed, Miss