January 26, 1922
MUSICAL COURIER
HUB CITY HEARS NUMEROUS RECITALISTS
Kochanski the Soloist with Boston Symphony-Estelle Liebling Also Scores with Orchestra-Father Finn and Paulist Choristers Give Pleasing Program—Frieda Hempel Gives Symphony Hall Recital—Caroline Hudson-Alexander, Esther Dale, Harriet Van Emden, Florence Bryant and Flonzaley Quartet Give Programs—Apollo Club’s Second Concert
ileus,” suits Mrs. Hudson-Alexander’s voice, and was one of the most delightful numbers of the evening. Again a song by John H. Densmore, this time a bit of coloratura after Donizetti, poem by Mary Gardenia, “The Voice and the Flute,” made a hit with the audience, and was repeated in part after insistent applause. Georges Laurent, flutist of the Boston Symphony Orchestra, was delightful in the obligato for this number.
Huyman Buitekan added greatly to the success of the concert, with his helpful accompaniments.
Esther Dale Heard.
Saturday afternoon, January 14, Esther Dale gave a pro-gram of varied style and much interest, at Jordan Hall, to a large and appreciative audience. Her selections ranged from Bach and Mozart to Brahms’ German folk songs, and songs by Constance Hereshoff, Bainbridge Crist, Alice Barnett and Tilden Davis. Two songs by Douanaly, especially “O del mió amato beni,” proved grateful to hear.
Harriet Van Emden Delights.
At Jordan Hall, January 18, Harriet Van Emden, soprano, with Harry Whittemore at the piano, gave a pleasant and interesting recital of songs and arias by both ancient and modern composers. The program:	Lungi
del caro ben,” Sarti; air from “Radamisto, Handel; “Resta in pace,” Cimerosa; “Alleluja,” Mozart; An die Nachtigal,” Brahms; “Der Jaeger,” Brahms; “Briet uber mine Haupt dein Schwarzes Haar,” “Schoen Sind,” “All mem Gedanken,” Strauss; “Chanson d׳Amour,” Chausson; La Chanson de l’Alonette,” Lalo; “Sorrow m Spring, Rachmaninoff ; “Thou art an Angel,” Gretchamnoff; ‘ Ebb and Flood,” Rachmaninoff; “Consecration,” Manney; “The Windflowers,” Josten; “The Great Awakening,” Kramer; “Wings of Night,” Watts; “Song of the Open,” La Forge
Miss Van Emden has a beautiful and flexible voice, of good quality especially in the middle and lower registers, and showed admirable breath control in the more florid air of Mozart. She has a musical temperament and emotional feeling for the requirements of the work in hand. Her way to success is clear.
Flonzaley Quartet Pleases.
The Flonzaley Quartet, in Jordan Hall, January 19, gave its first concert of the season. The program: quartet in E flat major, Beethoven; quartet in D major, Mozart; “Concertino,” Stravinsky.
The concertino by Stravinsky has created much discussion, even to the printing of two bits of themes^ in the Boston Transcript, and a dissertation on the composition by Mr. Smith of that paper. It is sufficient here to say that this well known organization had “seen its duty and done it,” as well or better than any other quartet could. The balance of the program was played in the artistic and painstaking manner which one has learned to expect from these gentlemen.
Apollo Club in Second Concert.
In Jordan Hall, January 17, the Apollo Club, Mr. Mollen-hauer conductor, gave its second concert of the season, the program being largely made up of graceful songs and tuneful ballads, with a few of a serious character to preserve a proper balance.	,	״,
Marjorie Moody was the soloist; she has a sweet, flexible voice showing to advantage in the aria, “Que la voce from “I Puritan¡.” She also gave a group of English and French songs and was repeatedly encored.
Walter H. Kidder, baritone, was given the solo from “In the Woods,” and George S. Dane won applause when he sang the stirring sea song, “Roadways,” by John H. Densmore, whose compositions appear frequently in programs both here and elsewhere.
Frank Luker was, as always, a great help to the success of the concert, with his admirable accompaniments.
Florence Bryant’s Program.
At Steinert Hall, January 19, Florence Bryant, violinist, gave the following program, with Bianca del Vecchio at the piano:	Sonata in A major, César Franck^ concerto m
B minor,	d’Ambrosio;	variations, Tartmi-Kreisler;
“Abendlied,” Schumann; “Romance in F,” Beethoven; gavotte in E major, Bach-Kreisler; introduction and taran-telle, Sarasate. A friendly audience greeted the player with hearty applause.	A. R. F.
American Institute Recital
The ninety-first recital at the American Institute of Applied Music, Kate S. Chittenden, dean, took place and was given exclusively by pupils of the dean and Mr. Klibans!cy. Twelve numbers were performed by the following players: Nancy Hankin, Grace Cottrell, Amelia Miller, Jean Burns, Elsie Duffield, Edna Oster, Salvatore Feldi, Irene Miller, Grace Marcella Liddane, Katherine Mortimer Smith, Em Smith (violin), C’Zelma Crosby (cello), Alice Nichols (piano), and Stephanie Koeppen. These affairs invariably attract large audiences and serve to show the excellent work done at the institution. The program held on it the American composers MacDowell, Curran, Mana-Zucca, Kramer, Hawley, Sternberg, Burleigh and Guion, while the European composers were all standard names.
Nancy Gibbs Sings “Smilin’ Through” in Vaudeville
Nancy Gibbs made her debut in vaudeville recently and delighted audiences at the New York Winter Garden with her “charming rendition of Arthur A. Penn’s popular little song “Smilin’ Through.” She “put it over” in great shape, and proved that the song is as big a favorite with vaudeville audiences as with everybody else. Miss Gibbs will be remembered as the clever English prima donna who appeared so successfully last season in “The Whirl of New York.”
Boston, January 21, 1922.—At the eleventh pair of concerts of the Boston Symphony Orchestra, Monteux conductor, held on Friday afternoon, January 13, and Saturday evening, January 14, the program included : variations on a theme by Haydn, op. 56, Brahms ; “Verklarte Nacht, op. 4, Schoenberg ; fantasia on Scottish airs for violin and orchestra, op. 46, Bruch; “La Valse,” Ravel. Schoenbergs composition was substituted for Handel’s concerto in F for strings and two wind instruments, on account of the sudden illness of Mr. Wendler, the first horn player.
The Brahms variations were delightfully played, Mr. Monteux reading the music in a happy manner, not choosing the music as a duty, as it is said some conductors in Paris do, but because he finds both beauty and strength in the score, and he certainly has the ability to bring out these qualities to the delight of the audience. Schoenbergs Ver-klarte Nacht” was appreciated^ by the hearers, but there seemed a general feeling that it would not be injured by considerable cutting.
Mr. Kochanski has a beautiful tone, not large, but intense • also a facile technic, with broad and distinguished phrasing. It is needless to add that, while his art gave great pleasure to his audience, as shown by the many recalls, the music of Bruch was found to be tiresome and of little worth by the critics.	.
The twelfth pair of concerts was given Friday afternoon, January 20, and will be repeated tonight, January 21.
Estelle Liebling Soloist With Symphony.
On January 16 was given the second of the series of six concerts which the Boston Symphony Orchestra is offering this season at Symphony Hall, in addition to the regular subscription series. The program : symphony No. 5 in G minor, Beethoven; “The Carnival m Paris, Svensen; aria from “Etienne Marcel,” Saint-Saëns ; aria, ’Non so piu, from “The Marriage of Figaro, Mozart;	Prelude a
l’Apres-Midi d’un Faune,” Debussy; overture to iann-
hauser,” Wagner.	.	.	^ ״
This proved an exceptionally interesting concert, Beethoven’s great symphony receiving fresh color and wonderful brilliancy from the reading of Mr. Monteux. The Debussy fantasy was just as incredible, and just as con-
vincing as ever.	. ,	,
Estelle Liebling was especially successful with the aria of Saint-Saëns, her rich, colorful voice being at its best in this number, displaying effectively the singer s range the color in the middle and lower registers being unusual and
^One*should" mention the individual excellence of the many solo players in the orchestra. A full house and much enthusiasm greeted the players and singer.
Father Finn and Paulist Choir.
Sunday evening, January 15 Symphony Hall proved to be too limited in size to care for much more than half of those who wished to hear the Paulist Choristers. The program was made up, for the first part, of music for t church largely from the old masters: “Mement9 Homo, Morales; “Sanctus tu es Petrus, Gloria m Excelsis (from the Missa Brevis), and “Crucifixus, by Palestrina, Ave Maria” and “Vere Langoures,” by Vittoria; Crucifixus, by Lotti, and four pieces by modern writers for the Russian Liturgy. Two Christmas numbers, Silent Night and “Nazareth, by Gounod, completed the first part of the program as announced. The balance of the program was 1made up of lighter numbers traditional pieces by Irish composers and the Irish Folk Song ot
A Father Finn plays upon his choir as an expert orS£mst on his instrument, conducting with^ both hands, with an abundance of facial expression, and m the Elgar־piece and the carols he became organist m fact, and his expert handling of the instrument added much to the pleasure of the audience.
Frieda Hempel in Recital.
Sunday afternoon, January 15, Frieda Heppel gave a large audience much pleasure at her recital in TT11״ 'TLp nroeram * “Agnus Dei from The Coronation Mass ” Mozart! “Voiche sapete” from “The Marriage, of Figaro,” Mozart; a pastoral from Rosalinda, Veracini, “Die Post ” “An die Nachtigall, Auf dem Wasser zu singer ” and “Ave Maria,” Schubert ; “Ah, non -çredea and rondo,’ “Ah, non giunge,” from “La Sonnambula Mto, “From Monte Pincio” and “I Love Thee, Grieg, V er schweigene Liebe” and “Er ist’s,” Wolf; “Slumber Song, d’Albert; “Staendchen,” Strauss; “Wiegenlied, Brahms, “The Bird Song,” Taubert.	.	...
Miss Hempel has a voice of lovely quality, smgs with intelligence and good diction in each language m which the song ?s written yet it seemed to the writer, that those of Schubert in German were given with deeper understanding than those in the other tongues .
Coenraad V. Bos, pianist, and Louis P. Fntze ׳ *fd sisted and it goes without saying that the artist cciuld hardly have found a more helpful assistant at the piano than Mr. Bos. Miss Hempel was recalled times without number at the end of the program, besides giving repetitions and encores between groups.
Program by Caroline Hudson-Alexander.
At Symphony Hall, Tuesday evening, January 17, Caroline Hudson-Alexander pleased a large and friendly audience by presenting, in her most charming manner, the following program: “My Heart Ever Faithful,” Bach; air from '“Idomeneus,” Mozart; "Stille Thranen, Fruhlmgs-nacht” and “Monadnacht,” Schumann; Heiden Roselem and “Die Allmacht,” Schubert; “The Voice and the Flute, aria Densmore; “Chanson du Chemin, Charpentier; “Sainte” Ravel; “Fantoches,” Debussy; “Au Cimitiere, Saînt-Saëns; “Tourne Mon Moulin,” Delmet; Hymne Au Soleil” Georges; “Candle Light,” Rogers ;/‘Snow Flakes Forsythe; “On the Water of the Marsh and A Rural Sparkin’,” Frank Laird Waller; “After War,’ Murdoch;
"3TTI^aSifuïaHa, “Zeffiretti Lusinghe״,” from “Idome-
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