February 2, 1922
26
MARGOT SAMORANYA,
soprano, tcho made a very favorable impression at her debut at Aeolian Hall on November 28, and who lias noiv entered the concert field.
interrupted by the journey which the musician made to America that year to concertize; it was finished at St. Brevin, France, in October, 1921. This was its first performance in New York. The work itself is divided into three movements—an andante, a tema with five variations, and an allegro, ma non troppo.
Nikisch’s Death a Great Loss
As first—and exclusively—announced in the Musical Courier in the issue of November 17, 1921, the late Arthur Nikisch, whose untimely death took place at Leipsic on January 23, had already signed a contract with Milton Diamond, director of the International Concert Direction, for a tour in America during the season of 1922-23. The unexpected death of Nikisch was a great blow to Mr. Diamond, who said: “The loss of Arthur Nikisch is more than a loss to those who were looking forward to his American tour. It is a loss to all who loved that which was finest and best in music, to all who admired a musician who stood for the highest ideals and who devoted his life to the advancement of the art which he served so masterfully and so reverently. Applications for the services of Dr. Nikisch as guest conductor had been received from practically every orchestra in the United States, and there had been requests from many cities for concerts at which Dr. Nikisch was to appear at the piano in conjuction with some noted singer. Applications for subscriptions for the New York concerts of Dr. Nikisch also were on file at the office of the manage merit, although no announcement of plans had yet been made.
“Negotiations were practically consummated for the appearance of Dr. Nikisch as conductor of one of the most famous orchestras of the world,” added Mr. Diamond. “He would have appeared in a series of four concerts in New York and in all of the large cities of the east with this organization.”
Namara to Tour with St. Louis Orchestra
Due to her success in the,title role of “Thais” in Chicago, Marguerite Namara, soprano of the Chicago Opera, has been engaged as soloist by the St. Louis Symphony Orchestra, Rudolph Ganz conductor, for the spring concert tour of that organization. Mme. Namara’s first appearance with the orchestra will be in Dallas, Tex., on March 20. Performances of the orchestra have been scheduled for Mexico, Columbia, Kansas City (two performances), and Cape Gira-deau, all in the state of Missouri; Tulsa, Okla.; Dallas, Denton, Fort Worth, Belton, Austin, Houston, Port Arthur and Texarkana, Tex.; New Orleans, Baton Rouge and Shreveport, La.; Little Rock, Ark., and Memphis, Tenn.
Among the soprano’s recent concert engagements have been appearances in Memphis, Tenn., on January 16, for the American Legion, and on January 18 at Rockford, 111., for the Rockford Art Club. On January 31 she sang in Baltimore; she will appear February 3 in Washington and the following week, on February 8 and 10, at New Wilmington, Pa., and Peoria, 111., respectively.
Two Dudley Buck Artists Win Success
Mark Andrews, an artist-pupil from the New York studios of Dudley Buck, sang recently in Fargo, N. D., and the critics were enthusiastic in their praise of thé young lyric basso. One of the papers stated that Mr. Andrews’ range proved to be wonderfully wide and of exceptional quality throughout.
Ella Good, contralto, another artist from the Dudley Buck studios, was recalled many times when she sang a group of songs for the Theater Assembly at the Astor Hotel on January 17.
Elsa Fischer Quartet Active
The Elsa Fischer String Quartet (Elsa Fischer, first violin; Isabel Rausch, second violin; Lucie Neidhardt, viola, and Carolyn Neidhardt, cello) has appeared many times in the metropolis this season, the most important dates being on November 13 last, at Town Hall; December 8, at the Academy of Music, Brooklyn; December 18, in Bedford Park Congregational Church; January 6, at a private concert, and on January 23 at a concert in Aeolian Hall.
Ginrich Philadelphia Recital Postponed
Lillian Ginrich, the soprano, has postponed her Philadelphia recital until April 25.
MUSICAL COURIER
music appears to lend itself as an aid to his interpretation. If so, why not consider the composer’s intention? If not, why use it at all ? One might as well take the words and recite them—with appropriate yowls and gymnastics.
Who has not listened to singers who actually made musical tones and had proper consideration for the pitch— also for the composer’s wishes—and who thrilled us with the intensity of feeling in their interpretations, and that without superfluous contortions ? Is . such singing to take second place to rantings in which are little, if any, real music ?
Perhaps some of us are old fashioned, but the writer, at least, likes occasionally to hear Handel, Mozart, and even Verdi, and with those, composers the ranting style cuts a very poor figure indeed.
Notwithstanding the apparently contrary belief of the present time, I still believe that vocal technic is a desirable asset, and that the singer who possesses it can interpret the meaning of the words with quite as much sincerity as the one who has not it, and that, too, without sacrificing musical tone or the intentions of the composer.
Furthermore, the ranter’s days are short. I have seen many of them who have shone more or less brightly for a very few years and then disappeared from public view, while there have been many veterans—and there are still a few left—who believe in vocal technic, and who were and are “as good as new” after many years of singing.
Women’s Orchestra Makes Debut
Swarthmore, Pa., January 20, 1922,—The recently organized orchestra of fifty of Philadelphia’s most accomplished women musicians made its debut at the Women’s Club last night. The hall was crowded with a representative audience manifestly curious and critical as to the merit of an ensemble of feminine players. J. W. F. Leman, director of the Atlantic City Steel Pier concerts during the past four years, is conductor of the orchestra, and due to the indomitable will of the personnel of the organization and the well known qualifications of Mr. Leman as an orchestral builder and conductor, the Women’s Symphony Orchestra of Philadelphia with but very few rehearsals presented a program that was remarkably well done.
Enoch W. Pearson, director of the Swarthmore Chautauqua, stated in a short address that the purpose of this organization is to study the symphonies and other larger works of the old and modern masters under skilful and intelligent leadership. Mr. Pearson said that five public performances for the season have already been arranged.
Before the curtain parted the orchestra made a unique effect with an intermezzo, “Pulcinello,” by Aletter. The parting of the curtains revealed the orchestra in an appropriate stage setting with the women dressed in white and the woodwinds and brasses elevated slightly on platforms in the same manner as other orchestral formations. The Svendsen “Coronation March” opened the program and was played in a manner that not only pleased the audience but fully demonstrated the quality of the strings, the power and precision of the brasses and woodwinds and an ensemble playing that immediately dispelled all doubt, if any existed, that a real musical treat had been prepared. The Mendelssohn “Fingal’s Cave” overture was rendered with taste and technical finish. John Barclay, the English baritone, sang the “Dio Possenti” from “Faust,” displaying a fine voice and a personality that emphasized the success he made. In this aria the orchestra accompanied the soloist in a manner that would reflect credit on a professional organization of reputation. “L’Oracolo,” a suite from the opera by Leoni, was given a reading that deservedly received volumes of applause. Florence Haenle, the concert-master, was then heard in Vieuxtemps’ ballade and polonaise with orchestra accompaniment. Miss Haenle is well known as a soloist of ability. She has an adequate technic, large tone and plenty of temperament. She was obliged to respond with an encore in the Drigo-Auer “Valse Bluette.”
John Barclay was again heard in a group of songs with Mary Miller Mount at the piano. Mr. Barclay, too, was obliged to respond with an encore. The Tschaikowsky “Sleeping Beauty” ballet music closed the program, which was one of the best Swarthmore has had the privilege of hearing for many years.	K.
Fifteen Year Old Girl to Play Under Mengelberg
The Philharmonic concert on Friday afternoon, February 3, at Carnegie Hall, will be entirely under the direction of Mengelberg and will introduce Erna Rubinstein, a fifteen-year-old girl violinist, to New York audiences. She comes to New York from Holland, where she played at Mengelberg concerts and won the approval of the Philharmonic guest conductor. She will give the Mendelssohn concerto. In his first concert at Carnegie Hall Mengelberg will present as a novelty Ravel’s “La Valse.”
The Sunday afternoon Philharmonic concert in Brooklyn on February 5 will be the third Mengelberg performance in a triangular tour which will have introduced the Dutch conductor to Philharmonic audiences at the Metropolitan Opera House, Carnegie Hall and the Brooklyn Academy of Music.
The second concert in the Metropolitan series takes place on Tuesday evening, February 7, under Bodanzky.
Gordon Campbell a Busy Artist
Demands for the services of Gordon Campbell, Chicago pianist-accompanist, are more numerous than he is able to fulfill. He_ was accompanist for Marie Rappold at her Appleton (Wis.) recital on January 6. Mr. Campbell has just been offered a short tour with Olive Kline, the New York soprano, which previously accepted engagements made impossible for him to accept.
Anent Prokofieff’s Concerto No. 3
Serge Prokofieff’s concerto for piano, No. 3, C major, op. 26, that was performed by the New York Symphony Orchestra, under Alfred Coates, at Carnegie Hall, on January 26, was given its first performance in Chicago on December 16, by the Chicago Symphony Orchestra, with the composer himself playing the piano. This work was first sketched at Petrograd in 1918. The composing of it was
A PLEA FOR THE SINGER
By WILLARD FLINT
What are the requirements for artistic singing? The natural answer is, first of all, a good voice. Next, the ability so to control it as to achieve proper effects with the least tax upon the vocal organs.
What are proper effects? With all due modesty, one should say those arrived at through the use of agreeable sounds. But how shall one reconcile that view with the exhibitions of vocal, to say nothing of physical, gymnastics to which one is treated when he attends a recital of modern songs by a singer who is^ pronounced by the critics to be the ne plus ultra of song interpreters.
Presumably the critics are correct, but those of us who were educated to believe that a singer should “sing,” have a sort of sneaking feeling that we would like a little melody thrown in occasionally. One does not want to quarrel with those who place interpretation of the words before all else. On the contrary, it is most desirable, and the composer also probably had some such idea when he chose the words and likely thought he was enhancing the possibilities of such interpretations by means of the musical composition.
Likewise, the assumption is reasonable that the artist who chooses the song does so because the character of the
The Victor Engages Only the World’s Greatest Artists to Make Red Seal Records. In the 1922 Victor Red Seal Catalogue
HANS
KINDLER
IS THE ONLY ’CELLO SOLOIST
A few of this season’s criticisms:
St. Louis Globe Democrat (Jan. 7, 1922):
“Hans Kindler, prime concert ,cellist, carried off most of the honors with his impeccable playing.”
St. Louis Star (Jan. 7, 1922):
“Kindler is one of the greatest ,cellists in the world. It is impossible to imagine more beautiful ,cello playing.”
St. Louis Times (Jan. 7, 1922):
“Hans Kindler, whom we hailed a year ago as a rival to the laurels of Casals, returned with a still deeper and broader art to St. Louis last night. In his music he reminded us of the Rodin Thinker
St. Louis Post Dispatch (Jan. 7, 1922):
“Hans Kindler established once more his right to be considered one of the world’s masters of his instrument, so opulent a tone did he wield, and so endlessly did he enrich and color it with an infinity of shadings, to say nothing of his immense skill of bow and fingers.”
Pittsburgh Sun (Dec. 6, 1921):
”A triumph for Hans Kindler.”
Pittsburgh Post (Dec. 6, 1921):
“Hans Kindler is a ,cellist in a thousand
New York American (Dec. 17, 1921):
“Kindler played with beautiful tone and splendid technique.
Philadelphia Bulletin (Dec. 20, 1921):
“Kindler’s playing was more beautiful than ever.”
Chicago Tribune (Dec. 2, 1921):
־^ndler showed himself again an excellent cellist in every respect.”
Washington Times (Nov. 5, 1921):
“The audience gave him an ovation.”
Engagements for 1922-23 now being booked by
CONCERT MANAGEMENT ARTHUR JUDSON
Pennsylvania Bnilding, Philadelphia