MUSICAL COURIER
58
January IP, 1922
Leo Schulz Both Cellist and Conductor
New York and vicinity have on many occasions admired the art of Leo Schulz as solo cellist, both with the Philharmonic Orchestra, of which he is first cellist, and elsewhere. He is less known, however, as orchestral conductor,
LEO SCHULZ, cellist and conductor.
but previous to coming to America he conducted in Europe and later appeared here in that capacity as assistant to Emil Pauer at the Boston Symphony “Pop” concerts, for his own. “Festival Overture,” he conducting the Philharmonic Orchestra; the Willow Grove (Philadelphia) Summer concerts, and the Ravinia Park (Chicago) Summer concerts, the last two as assistant to Damrosch. In this capacity his musicianship and authority have brought him much success and some established orchestral organization will do well to seek connection with him.
Frederic Warren Ballad Concert January 22
Frederic Warren inaugurates the third season of his Ballad Concerts on Sunday evening, January 22, at the Sel-wyn Theater, New York, with the following artists: Olga Warren, coloratura soprano; Lionel Storr, bass-baritone; and the New York Trio, consisting of Clarence Adler, piano; Scipione Guidi, violin, and Cornelius Van Vliet, cello.
The program will contain works by Mozart, Wagner, Rubinstein, Mackenzie, E. Martin, W. Watts, Delibes, Wolf-Ferrari, Mendelssohn, Grieg, M. Schumann, Deems Taylor, P. Keel, Sieveking, Hageman, Cyril Scott, J. B. Fox, Arditi, Kurt Schindler and Cadman.
Mary Houghton Brown C°PIANIST
Available for limited number of recitals, also for season 1922-23 beginning October.
Address: Washington Heights Club, 27 W. 57th St.. N. Y.
A Natl. Song & Slogan
S. WALTER KREBS
Composer-Pianist
Instruction Recitals & Accompanying 547 Riverside Drive, N. Y. C. Morningside 7078
them caprices, and only genius can justify some of the liberties he took. But Busoni is a genius, and the effect of what he does it delightful. It would take a whole treatise to describe his rhythmic nuances alone. Unfortunately the orchestra, which accompanied discreetly (Busoni rarely played above a mezzo forte), could not help sounding downright plebeian in the tutti sections by contrast with the soloist. In the first concert the third concerto in E flat (K. 482) was the most enjoyable, following after those in C minor and G major (K. 491 and 453). The second provided revelations for hundreds of piano students in the three popular concertos (D minor, A major, C major), which are often heard but surely never iike this. Busoni’s own cadenzas and cadenzettas (in the places which Mozart indicated by pauses over rests) were without exception beautiful and pure in style.
Mischa Elman and Others.
For the rest, violinists have been rather numerous of late. Last Sunday Mischa Elman blew into town, and during a hurricane which tore off roofs, uprooted trees and smashed, Christmas show windows he beguiled a big Scala audience into listening intently .to his magnificent and luscious tone—surely the most luscious heard in this hall. He played a Handel sonata (D major),, the Lalo concerto, “the” chaconne and a group of smaller pieces. He seemed to be in better form than last year and roused the audience to an orgy of enthusiasm. Elman’s violin talent is so tremendous that he can allow himself lapses and liberties without detracting from his character of “Pied Piper.”
A fellow student of Elman’s, Miron Poliakin, in whom Auer is said to have placed the greatest hope of all, also gave a recital—before a very much smaller audience, of course. A masterly performance of the Bach chaconne seemed to justify his master’s expectations,, too, but Saint-Saëns’ “Havanaise,” for instance, while excellently played, somehow lacked the quality that “gets ’em.” We should like to hear more of this artist before passing upon his eligibility for the top ranks.
Robert Poliak, of Vienna, is also a talented violinist, but his recent concert was marked by trouble with intonation and other technical details.
Mayo Wadler’s Debut.
The American representative in this galaxy was Mayo Wadler, who, after his Viennese successes, proceeded to capture Berlin. His first onrush was remarkably successful, some of the critics writing veritable panegyrics. Wadler is not an artist who seeks to shine as a technical wonder. He employs his artistic outfit—the most obvious of which is an exceedingly sweet tone—chiefly in the service of progressive musical art. He set the doubters at rest with Vital¡ and Bach (A minor concerto) and proceeded to the business of the day with Cyril Scott’s “Tallahassee” suite, a rather, saccharine medley of negro and impressionistic idioms. Gardner’s “Cane Brake,” given as an encore, is a much better fulfilment of a similar attempt. Wadler was obliged to give a number of encores.
Is Violin Playing a Female Vocation?
It is remarkable how many excellent women violinists there are nowadays. This is a characteristic feature of contemporary musical life, and it would almost seem that success in this particular field is easier for women than for men. Kathleen Parlow, Erika Morini, Erna Rubinstein, Alma Moodie, Edith Lorand, Jenny Skolnik—where were their equals a generation ago? What women pianists have done in recent times, beginning with Clara Schumann, is about to be done in even greater measure by women violinists.
Ibolyka Gyarfas is another of this promising band of young string artists and in a concert this week she again showed very high artistic qualities, a surprisingly robust tone and genuine Hungarian temperament. The program, classical for the most part (Vital¡, Friedemann, Bach, Handel, Vieuxtemps), included a pretty little composition, “Blumengruss,” by herself.
Chamber Music.
A number of pianists have also played recently, but a discussion of their qualities must be reserved for another time. Among the singers, Sigrid Onégin sang a whole evening of Hugo Wolf—not altogether a fortunate choice for this otherwise excellent artist, while Lula Mysz-Gmeiner devoted herself entirely to Brahms, with better success. Chamber music organizations like the Rosé Quartet and the Klingler Quartet have dedicated their recent concerts exclusively to the classics and especially Beethoven. The Budapest String Quartet, on the other hand, played the first Schonberg, followed by Beethoven’s op. 127, and one was forced to admit that the abyss which lay between these works a decade ago has been greatly narrowed by the years.	César Saerchinger.
BRAUNFELS’ “BIRDS” HAS BERLIN PREMIERE
(Continued from page 5)
storm—with fire and all other kinds of Wagnerian magic— are some of the undisguised operatic elements in a work which shuns the opprobrious name of opera. The finely written choruses suggest a good composer of oratorios.
The Performance.
Johanna Klemperer, wife of the Cologne conductor, as a guest sang the role of the nightingale, written for Ivogiin, and acquitted herself rather well of the difficult task. Her voice is full and sweet and rings true in the highest registers. A sufficiently ponderous Prometheus, Friedrich Schorr, and a lively and sonorous Woodhop
FERRUCCIO BUSONI
(The latest picture), who played his Mozart concertos in one sequence in Berlin with his own cadenzas and other ornaments.
(Theodor Scheidl) were the best of the male cast. Fritz Stiedry conducted and seemed to bring out about all there is in the finely orchestrated score.
The scenic problems were bravely tackled by Emil Pirchan, more artist than inventor, who provided an atmospheric and poetic picture for the prologue and epilogue: a tree, whose foliage occupied the entire stage. His picture of the bird world was less successful. Ludwig Horth, who stage-managed the play, had more than the ordinary difficulties to contend with. He tried to create the illusion of bird life by constant movement—hopping and fluttering. The chorus and ballet had to be mingled and some of the bird voices placed in proscenium boxes on both sides.
I am afraid that their efforts were all but in vain. Nothing of real value seems to remain save the experiment. Now let a real genius arise and write a bird opera.— a ravishing “Chantecler” with the most glorious sunrise ever pictured in sound!
Busoni Plays Mozart.
Concert life about Christmas is always sluggish, and especially so this year. Nikisch, like Furtwängler last week, worshipped Handel and Brahms (fourth symphony) in the regular series at the Philharmonie, and also afforded an opportunity to one of his two concertmasters, Jan Dahmen, to prove himself capable of playing the Dvorak concerto with beautiful tone and a musicianly style.
The outstanding feature of the week was Busoni’s playing of six Mozart piano concertos in two concerts with the Philharmonic Orchestra. An unpleasant incident, characterized locally as a “scandal,” preceded these concerts, as already reported in the Musical Courier. The place of Gustav Brecher, who should have conducted, was taken by a Mr. Marienhagen, first violin and assistant conductor of the orchestra, who proved to be both agile and docile in following the artist’s doings. Some people would call
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	■j ׳ '?-׳־'	HELEN ALLYN Soprano with Boston Society of Singers: late of leading European opera houses. 820 ORCHESTRA BLDG״ CHICAGO, ILL.	ELSA FISCHER STRING QUARTET Elsa Fischer, 1st Violin Lucie Neidhardt, Viola Isabel Rausch, 2d Violin Carolyn Neidhardt, Cello Address 474 West 150th Street New York City	
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