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February 9, 1922	MUSICAL COURIER
BOSTON SYMPHONY HONORS MEMORY OF NIKISCH
Ernest Hutcheson, Sophie Braslau, Erika Morini, Francesca Cuce, Evelione Taglione, Give Programs—People’s Orchestra
Plays Wagner—Choir of St. Cecilia Church in Concert
ful tone, and won all hearts by his refined, elegant playing of his own arrangement of Hadley’s piano piece, “Ballet of the Flowers.” Del Negri, tenor, sang seven arias, short and long, by modern composers, and made, a tremendous hit, for his voice is altogether unusual, rich, resonant, full of pulsating expression. Three high A’s in a “Werther” aria, the high B flats in “Gioconda” and the similar tones in the closing “Celeste Aida,” all showed that he did not spare himself. He added the “Andrea Chenier” aria as a finish, and made such a hit that he was reengaged on the spot for a later musicale. Mr. Spross played accompaniments as usual, and a fine luncheon was followed by the showing of DeMille’s “A Fool’s Paradise,” and dancing. Executive officers of the Mozart Club are: President, Mrs. Noble McConnell; honorary active vice-presidents, Mrs. Benjamin Adriance, Mrs. F. MacDonald Sinclair, Mrs. Fred’k A. Muschenheim ; first vice-president, Mrs. Clarence Burns ; second vice-president, Mrs. E. Bassford Schmalholz; third vice-president, Mrs. John Thomas Taylor; fourth vice-president, Mrs. Samuel Gardner Estabrook; secretary, Mrs. Joseph James Root, Jr.; treasurer Mrs. Frederic Cushing
Stevens.	-------------
Music Students Organize At a meeting held at 31S West Eighty-sixth street last Sunday evening, the first informal gathering of music students was held for the purpose of organizing an association or league looking toward mutual acquaintance, help and musical cooperation of the young persons who are studying the tonal art in this city. A large number of students was present and much enthusiasm resulted after speeches by Dr. Noble, J. Fletcher Shera and Leonard Liebling, all of whom endorsed the project warmly. Dr. Noble’s address had particular pith, point and practical direction, and after its conclusion a formal beginning of operations took place in thé unanimous resolve to hold an early organization meeting, to campaign assiduously meanwhile for memberships, and to appoint temporary committees for working purposes. J. Fletcher Shera was appointed honorary chairman by acclaim.
the groups of Italian songs. Miss Williams proved an able accompanist.
Choir of St. Cecilia’s Church.
January 31, in Jordan Hall, the choir of St. Cecilia’s Church, John A. O’Shea director, gave an enjoyable concert to a large, well pleased audience, which listened to the interesting, if rather unconventional, program, and _ rewarded the singers and players with hearty applause. This was the program: “Now Thank We All Our God,” Bach, and “Gloria Patri,” Palestrina (choir) ; “At Night,” Rachmaninoff (Mr. Quinn) ; “My Heart at Thy Sweet Voice,” Saint-Saëns (Miss Burns) ; “I Trust in Thee” from “Lohengrin,” Wagner (Mr. O’Brien and quartet) ; Hungarian rhapsody, No. 12, Liszt (Miss McCarthy) ; “Mona Kiea,” Dore (choir); “O Lovely Night,” Offenbach .(Men’s chorus) ; “O Soave Fanciulla,” from “La Bohême,” Puccini (Miss Parsons and Mr. Quinn); “Believe Me, if All Those Endearing Young Charms,” Old Irish (choir) ; “First Concert Study,” Yon, and “Venetian Nights,” O’Shea (Mr. O’Shea) ; “Thy Face is as a Rose, My Love,” Ghelius (Women’s Chorus) ; “La Primavera d’Or,” Glazounoff (Mrs. Parsons) ; “Roadways,” Densmore (Mr. O’Brien) ; “Thanks be to God” from “Elijah,” Mendelssohn (choir).
Joan Parsons, soprano; Nora Burns, contralto; Thomas Quinn, tenor ; William H. O’Brien, baritone ; Ida McCarthy, pianist, and Elsie M. Eckman, organist, were excellent in their various parts. One could say much in favor of each, but space forbids. Special mention should be made of Miss McKenzie, a young high school girl, who did some very beautiful vocalizing back of the organ, during the “Venetian Nights” barcarolle of the organ selection of Mr. O’Shea. This gentleman, who is the head of the music department of the School Committee of Boston, has a clear decided beat, and his choir shows every evidence of careful training. Evelione Taglione’s Charming Manner Wins Audience
February 1, at Jordan Hall, Evelione Taglione, pianist, presented this program: Prelude and fugue in A flat major, Bach; two inventions, D minor and B flat major, Bach; sonata in D major, Mozart; “Dirge from Poems of 1917,” and “A la Chinoise,” Ornstein; “From an Indian Lodge,” and “Will o’ the Wisp,” and “Scotch Poem,” MacDowell; “Three Ecossaises,” nocturne in F minor, and scherzo in B minor, Chopin.
Before she was seated at the piano, her modest and graceful appearance completely captured her audience, and then she proceeded to play delightfully, showing able technic, fine scales and trills, and above all, a constantly beautiful, entrancing tone quality.
Ethel Leginska, her teacher, who was to have appeared with Miss Taglione at this time, was prevented by a long continued illness, and Miss Taglione undertook to give the concert alone, and succeeded entirely in pleasing the large and friendly audience present.	A. R. F.
Mozart Fourth Musicale, Luncheon, Dance and “Movie”
“One of these days we may see a woman president of these United States,” said President McConnell at the fourth feast of music, luncheon, dance and cinematograph of the Mozart Society of New York, Hotel Astor, February 4, this remark being based on the political advancement shown in the present decade. She introduced Lieutenant Green, U. S. N., and Mrs. Green (a “Mozart bride”) ; announced the engagement of another Mozart girl, Miss McCullagh, to R. B. Cole; told of the newly established chiropractic department at the East Side clinic, which is one of the Mozart charities, where “you can get yourself adjusted’’ as a member of the Mozart for one dollar; named current running good plays worth witnessing; called attention to the “Edwards Night” concert of February 14, with Liebling and Ruffo; to the annual religious gathering at West End Presbyterian Church, February 12, when Titta Ruffo would be soloist; named the bridge euchre of March 14, the Mozart dinner dance of April 4, and the annual breakfast in pastels of May 6, “tables $50.” She also animadverted to what a newspaper called her “thousand dollar gown,” at the recent ball, and said it was all bosh; jf she had that much money she would put it in the East Side clinic. President McConnell’s droll originality—facetious and amusing, often enlightening, always entertaining--is a feature of the musicales.
Dorothy Miller Duckwitz, pianist, played three Chopin studies well, and wasted her time on ugly Debussy excerpts. Andre Polah played violin pieces, the Schubert “Ave Maria” with much pathos, the Chopin E flat nocturne with beauti-
Boston, Mass., February 4, 1922.—Friday afternoon, January 27, and Saturday evening, January 28, were given the thirteenth series of concerts of this season by the Boston Symphony Orchestra, Monteux conductor, and with William Bachaus as pianist. The program included Siegfried’s “Funeral March” from “Götterdämmerung,” Wagner; symphony in A major, Beethoven; concerto No. 2 in C minor for pianoforte with orchestra, op. 18, Rachmaninoff; incidental music to “Ramuntcho,” Pierne.
Before the symphony, Siegfried’s funeral, music, from Wagner’s “Die Götterdämmerung,” was played as a tribute to the memory of Arthur Nikisch, the third conductor of the orchestra, music in which he took great delight during his engagement here, well chosen for the purpose for which it was intended.
“After the impressive performance, there was incongruous, impertinent applause on the *part of certain hearers. Perhaps, not having noticed the title page of the program book, they mistook the march for the first movement of the symphony. This is a charitable supposition. Yet there are restless, excitable souls who would applaud the officiating clergyman at a funeral.” (Mr. Hale in the Herald.)
Mr. Monteux gave an admirable reading of Beethoven’s great seventh symphony, and was recalled many times until obliged to call up the members of the orchestra to acknowledge the well deserved applause. Pierne’s overture was played here for the first time; it proved of great interest, and was given in a brilliant manner.
Mr. Bachaus gave a splendid interpretation of the Rachmaninoff concerto, masterly in technic, a fine sense of form, a clear understanding and expert working out of the nuances indicated by the composer.
The orchestra goes on tour this week. The next concerts will be given February 10 and 11.
Ernest Hutcheson in Excellent Form.
Saturday afternoon, January 28, at Jordan Hall, a recital by Ernest Hutcheson (who'appeared under the management of Wendell Luce), gave much pleasure to a large and distinguished audience. The program was as follows: Prelude and fugue in D, Bach-d’Albert; sonata in B minor; Liszt; prelude, op. 11, No. 1, and Caprice, op. 11, No. 2, Hutcheson; ballade in A flat, nocturne in D flat, and five etudes, Chopin.
Although a heavy program it was pleasing to the company present, which rewarded the artist with hearty and spontaneous applause. Since last he was heard in Boston, Mr. Hutcheson has added to an already brilliant technic, beauty of tone, wealth of imagination and warmth of feeling.
Audience Applauds Sophie Braslau.
Sunday afternoon, January 29, in Symphony Hall, a recital of songs by Sophie Braslau, contralto, attracted a large and enthusiastic audience. Mrs. Ethel Cave-Cole was the accompanist.
The program included: “The Distant Beloved,” Bassani; “Furibondo,” Handel; “Nature’s Adoration,” Beethoven; “Das Iridische Leben—Wer hat dies liedlein erdacht?” Mahler; “Ewig,” Wolf; “Die Verschwiegene Nachtigall-Weinachten,” Josten; “Se un Giorno tornasse,” Respighi; Serenade,” Groviez; “La Procession,” Franck; “Pain-The Storm,” Moussorgsky; “The Lost Chord,” Sullivan; “Rest,” Forsyth; “Ma Li’l Batteau,” Strickland; “Robin Woman’s Song” from “Shanewis,” Cadman.
Miss Braslau is a singer well endowed by nature with a voice of good quality, sufficient volume and range, musical understanding, dramatic power and poetic feeling, and with all these gifts, she gave her hearers some beautiful singing, and was rewarded by prolonged applause, to which she was obliged to respond with encores. A very enjoyable entertainment.
People’s Orchestra in Wagner Program.
Sunday afternoon, January 29, the People’s Symphony Orchestra, Mr. Mollenhauer conductor, at the St. James Theater, with Minerva Allen, soprano, assisting, gave the following program: Prelude to “The Meistersingers”; “Elizabeth’s Greeting to the Hall,” from “Tannhäuser”; prelude to “Lohengrin,” “The Ride of the Valkyries,” from “Die Walküre,” and overture to “Tannhäuser.”
One of the largest and most enthusiastic audiences of the season greeted Mr. Mollenhauer and his men at the first concert since the war, in a program made up entirely of Wagner’s music. Mr. Mollenhauer called on his_ players repeatedly to rise, and finally surrendered to the insistent demand of the audience, and a second time played “The Ride of the Valkyries.”
Miss Allen has a lyric voice of much promise, and was heard with pleasure.
Erika Morini a Wonder Violinist.
January 31, in Symphony Hall, a recital by Erika Morini, the seventeen-year-old mistress of the violin, playing to an enthusiastic but lamentably small audience. The program offered: G minor concerto, Bruch; “Devil’s Trill,” Tartini; “Melodies,” Tschaikowsky; “Romance Andaluse,” Sarasate; “Mazurka,” Zarzyski; “Moses’ Fantasie,” variations on G string, Rossini-Paganini.
From the first moment of her appearance she displayed ‘ full mastery of her instrument, an amazing technic, a warm individuality, a virtuoso spirit unsurpassed by many older and better known artists. She infused with new life the well known Bruch concerto, which, however, needs the orchestra rather than a piano to do justice to the composer’s ideal. In passages of sentiment, the sentiment did not become sentimental, the phrasing was always fine, the dash and sureness in the finale stirred her auditors to enthusiastic applause.
Miss Cuce in Recital.
Sunday afternoon, in Jordan Hall, a recital of songs and arias ־was given by Francesca Cuce, soprano, with Susan Williams, accompanist. Miss Cuce has a voice, fresh and youthful, rich in the lower and middle parts, a bit shrill in the upper, when driven in passionate outburst. Her intonation is good, her enunciation distinct, especially true of
		
	You will never KNOW THE JOY OF TEACHING MUSIC Until you KNOW THE DUNNING SYSTEM. It will enable you to TEACH SYSTEMATICALLY, INTELLIGENTLY, THOROUGHLY AND INTERESTINGLY. Names of Normal Teachers will appear in next issue.